INTERVIEW: Christina Johnston

INTERVIEW:

 Christina Johnston

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THIS is a rare opportunity to focus on a Classical artist…

and a step into foreign territory. I have reviewed Classical artists before and always find something new – every time I come across an artist from this genre. Today, I get to talk to Christina Johnston and her album, Blessing. It is released on 22nd September (through Tadlow Classics) and is a stunning work. Johnston discusses the songs included and what one can expect from the record.

I ask about Johnston’s influences and how she got into Classical music – and whether it is hard maintaining a staggering, wide-ranging coloratura soprano voice. She has a range of tour dates throughout September and October (one can see here) and will bring her incredible music to new crowds.

Christina Johnston talks about her new video, The Nightingale, Alabiev, and why she tackled that song; what it has been like touring continents – and performing to various presidents and esteemed representatives – and what her touring schedule looks like this autumn/winter.

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Hi, Christina. How are you? How has your week been?

Hi, I am very well, thanks.

My week has been very busy but productive.

For those new to your work, can you introduce yourself, please?

I am a Classical singer with a very high range - I can sing over four octaves. I trained at the Guildhall School of Music & Drama in London and then went onto debut at the Prague State Opera. Since then, I have sung in many operas, musicals and on film-scores.

I want to bring Classical music to the general public and show how beautiful it can be.

You are a coloratura soprano. Can you explain a bit about that vocal-type and when was it you first realised you had such a beautiful and powerful voice?

The literal translation is ‘to colour the notes’. My voice type is quite rare: I am part of the few coloratura sopranos that are able to sing above high F (F6) with great ease. These coloraturas are sometimes referred to as sopranos acuto sfogato.

I found out I could sing this high when I moved to Prague and was studying at the Opera House there.

Does it take a lot of hard work and training to maintain your vocal prowess? How many hours a day will you sing, typically?

It does take a lot of hard work and training...

Being a singer is like being an athlete. I am a vocal-athlete and, if you don’t train, your muscles get weak. On the other side, if you train too much, you over-work your muscles and wear them out. It is all about balance and understanding your body. I make sure I have rest days but when I train I can sing up to six hours in a day.

However, I try to rest as much as I can not to over-strain the voice.

Who were the artists you grew up listening to and inspired you to go into Classical music?

When I was little, I listened to so many genres but, when listening to Classical music, I loved hearing Maria Callas. I wanted to be as great as she was. I then began listening to Natalie Dessay, Rita Streich; Joan Sutherland and Mado Robin.

I want to know about the album, Blessing. What kind of songs can we expect on the album? Are there originals or will it be interpretations of operatic numbers and classics?

The songs on this album are ones I have performed over the years and fallen in love with - or that have really touched my heart and made me feel something. I chose pieces that I felt would make people feel at-peace and fill them with joy. There are two new songs that are crossover songs - almost film-like.

My producer James Fitzpatrick and I chose these because I wanted there to be a range of styles on the album - to give people a collection and I also fell in love with them the moment I heard them.

What was it like recording the album and will there be any singles/songs released ahead of time?

I had so much fun recording the album. The orchestra was amazing to work with and most I know from the opera. There was a huge sense of comradery and togetherness. We were a team trying to create something beautiful.

There are currently no plans to release a single ahead of the album release but you never know - perhaps next year…

I saw a video of you performing The Nightingale, Alabiev. Where was that filmed and what is about that piece that inspired you to perform it in that setting?

This was a part of my concert in Framlingham Church, Suffolk in June this year.

The song is actually one of my favourites as I can show what my voice can do. It is a tough song but fantastic to perform. I really love performing in churches as they have such wonderful acoustics and I believe there is something magical about the setting of a beautiful church building.

Like Ed Sheeran and Laura Wright; you attended Framlingham College. What is it about the college that produces such great artists? Did you learn a lot from your time there?

The school is a fantastic place and gave us all such encouragement and support. They also help the students by giving them so many opportunities to perform not only in the school but outside - so you can get a lot of experience and develop as an artist.

The most important thing for me was how wonderful the teachers were: so supportive and encouraging and really helped build my confidence as a singer.

I know a lot of Classical artist’s cross genres and tackle Pop/mainstream songs. Is that something you will go into – or do you want to retain a sense of purity in your music?

To be really honest, I love singing any genre - as long as it touches people’s hearts.

I have actually already sung for a Trance artist in the past and I sing for film-scores too. I will, though, keep the genres separate and maintain a sense of purity in each genre I sing.       

You have toured Europe, Asia and South America – Presidents and State Official are some your biggest fans. How does that make you feel and what has it been like taking your music to different continents?

It is an honour and humbling feeling to be liked by the general public or Presidents.

My job is to make people happy and to entertain so, when people are pleased after I sing, I feel happy that I have done a good job. It is wonderful when you sing in another country and you get such positive reactions!

I am just so happy that people like what they hear!

Are there any live dates and performances coming up?

I have my tour starting the day after my album, Blessing, is released. I will be doing ten concerts from September 23rd to October 14th - singing in beautiful churches and cathedrals in cities from Norwich down to Chelmsford.

IN THIS PHOTO: NAO

Who are new acts you recommend we check out?

Definitely NAO! She is a fantastic singer and writes all her own music!

Classically-wise; I would recommend violinists Vladimir and Anton (I hope I can sing with them one day soon!).

If you had to select the three albums that mean the most to you; which would they be and why?

Michael Bublé – Crazy Love

Because it was the album my husband and I listened to during our first few months together. He was in Prague and I was in London - and we used to listen to it at the same time

Delirious – Deeper

This album means a lot to me because I listened to it a lot after my father died.

Maria Callas – Popular Music from TV, Film and Opera

This album, because it was the first album I got for my twelfth birthday - to do with Classical music - and I loved listening to it! It is the reason I love Classical music and wanted to be a singer like Maria.

What advice would you give to artists coming through right now?

Never give up on your dream...

It is such a tough business and sometimes you feel like you are running at a brick wall - but keep working hard, keep getting better at what you do; be patient and never give up.

The door will open at the right time.

Finally, and for being a good sport; you can name a song and I’ll play it here (not one of yours as I’ll do that).

Bright City - Maker of the Moon

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Follow Christina Johnston

 Official:

http://www.christinajohnston.co.uk/

Twitter:

https://twitter.com/christinajvoice

Facebook:

https://www.facebook.com/TheChristinaJohnston/

Instagram:

https://www.instagram.com/TheChristinaJohnston/

YouTube:

https://www.youtube.com/channel/UCvUibmdRdppbcqKAuEM_eUA

Spotify:

https://open.spotify.com/artist/1nQQKKHqQPryT8vjh85T3V

INTERVIEW: Angus Powell

INTERVIEW:

 Angus Powell

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I was interested finding out about the creator of…

the album, Before the Grey. Angus Powell explains how the songs came together at various times – documenting the times and experiences at different intervals in his life. I ask which song Powell thinks defines the album; the themes that run through the album – and whether there are any tour dates on the horizon.

Music from Angus Powell has been played on big U.S. shows like Bones. He explains how that kind of exposure feels and what it has been like growing up in Mid-Wales – and whether that sense of isolation and detachment helped his creative process or not.

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Hi, Angus. How are you? How has your week been?

Hello. I'm good. My week has been great, thank you.

I’m in Wales at the moment working on a couple of new tracks

For those new to your work, can you introduce yourself, please?

Sure. I'm Angus - writer, traveller and dog-lover.

Tell me about your debut album, Before the Grey. What inspired it and what kind of stories/situations go into the songs?

Before the Grey is a collection of songs that I’ve written at different stages of my life. Some are pretty old and have evolved over the years – but the roots stay the same. People ask me what ‘before the grey' means? The ‘grey’ is the unknown. I think everyone has a grey place: a place we’d all rather didn’t exist. For me, I can go dark sometimes - turn in on myself. When I’m there; nothing very productive happens.

These days, I know when I’m on that road - so I can usually turn it around before it's too late (‘before the grey’). 

Is there a particular song from that album that stands out in the mind or is particularly personal?

All the songs on the album are pretty personal: most on levels I’ll probably never explain - but Passenger is a song that I feel quite close too. I guess it's about my journey really: keeping a focus when everything around you feels like it's crumbling. 

You were born in England but grew up in Mid-Wales. What was it like living in a derelict mill-house? Did the mountains and the nature around you inspire you to write and pursue music?

Totally. I had a great childhood; we had so many adventures. It was safe back then. You could go anywhere and, as long as you were back for meal-times, nobody worried. I write a lot with these memories in mind: the freedom and the openness.

I like to think that song the productions reflect this: wide open spaces, lush textures and ever-changing colours. 

How important was your time at a Welsh bilingual school?

I think the Welsh language is beautiful.

At the time, that schooling was the only option - so it was taken for granted. There a certain melodic quality to Welsh words and phrasing…like a poem.

I wish I got the chance to use it more in life – it’s slipped away from me, a bit. 

I know, as a child, you would listen to your parents’ record collection and obsesses over certain artists/songs. Which albums did you bond with and were there particular songs that struck a chord?

They had such a mixed collection…

One album that I still have and still look at regularly is Jeff Wayne's War of the Worlds. I was listening to this long before I even knew what a horror film was - I was totally captivated. The record artwork pulled me in: in fact, it scared the hell out of me. Every now and then, I put it on sometimes in the car – I still know it word-for-word. It's funny. Going back to it now, with an understanding of composition and production…it’s a masterpiece; a world of sound with so much detail. 

Jeff Wayne sucks you into his world.

You have spent time in Wales and London. There have been hard times and adventures. How many of the songs on Before the Grey are inspired by your travels and relocation?

All of them, I guess, has elements from those things. I’m not someone who can wake up and say “I'm going to write a song today”. Ideas start and develop over time. I mentioned before; I travel a lot - and so do these ideas. I wrote most of Shiver and Lines whilst travelling through Indonesia. The ideas were there before I left the U.K. - but the songs changed throughout my time away. I love that.

Every time I play them, I go back to a beach in Lombok where I'm sat with my baby, Taylor, at sundown watching the fishermen – better than any photo!

Tell me how you came to meet Danny Benair and have your music used in T.V. and film?

It’s a long story…

I spent a long time researching music supervisors: who worked on what; watching T.V. shows and listening, specifically, to the music - then jumping to the credits. I sent out so many emails; staying up through the night to try and be in-line with L.A.-time. I kept on hitting the same wall: ‘We don’t accept unsolicited emails or submissions’. I ended up creating a manager and company name - and tried again. I got in touch with Danny, who was really supportive from the start. We spoke on the phone (where I came clean about the ‘pseudo-manager’) and things evolved from there. Experience has taught me that there are many sharks in every ocean: Danny is one of the good guys.

I feel really lucky to have him onboard.

How does it feel hearing your music in big shows like Bones? What are your favourite memories of hearing your music on the screen?

It's rather surreal; especially as I recorded a lot of the songs in my bedroom with a pretty basic kit - I had no idea where they would, ultimately, end up. Watching Elementary was pretty unbelievable - Lucy Liu and Jonny Lee Miller, actors I'd been watching all my life, with my song playing in the background...

Weird.

Your music has been streamed over two-million times on Spotify. How important are sites like Spotify and getting your music to so many people?

I’ve seen a huge shift from downloads to streaming. 

Spotify and other sites like it make music so accessible. It's all about playlists. As a listener; I’ve discovered some gems through listening to other people’s playlists.

What tour dates are coming up? Where can we come and see you play?

I’m in talks with a couple of promoters at the moment.

We are planning some gigs from later in the year - and some select festivals next year. It’s important to get the venue right because the songs are atmospheric and emotive. The stage needs to match.

I’m excited.

Who are new acts you recommend we check out?

I'm mainly listening to playlists of lots of different acts at the moment - so can't really put my finger on anything specific.

There are lots....

If you had to select the three albums that mean the most to you; which would it be and why?

All of these three affected me in different ways, and still do in some ways…just because they do!

Tracy Chapman – Tracy Chapman

Dido - No Angel

Nirvana - MTV Unplugged in New York

What advice would you give to artists coming through right now?

I'd say just keep hold of ‘you’. Don’t be afraid to take dents: make mistakes and be confident in who you are. 

Finally, and for being a good sport; you can name a song and I’ll play it here (not one of yours as I’ll do that).

Nelly Furtado – Try (not what you were expecting, right?!).

I first heard this when I was driving. I had to pull over – everything about this song is stunning

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Follow Angus Powell

 Official:

https://www.musicglue.com/angus-powell

Twitter:

https://twitter.com/anguspowell

Facebook:

https://www.facebook.com/Anguspowellmusic/

SoundCloud:

https://soundcloud.com/anguspowellmusic

Spotify:

https://open.spotify.com/artist/2SWjKSdvZK4SKu0m6LcMtl

INTERVIEW: All the Colours

INTERVIEW:

 All the Colours

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ANYONE looking frantically around the music horizon for…

some chunky, decent Alt-Rock would do well to wrap their ears around Melbourne’s All the Colours. I chat to the trio about their latest belter, Heartbreaker, and splitting their time between L.A. and Melbourne. I ask about the local scene where they are and what we can expect from their latest album, Vol. 3. The guys talk about music inspiration and how they chill away from music; whether there are any tour dates approaching – and a few of the acts they recommend we check out.

I get an insight into the band’s ethos and the way they view modern music; why they have a love for the 1970s and 1990s – and what it was like working with Zach McSweeny on their latest video.

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Hi, chaps. How are you? How has your week been?

I’ve either been lazy or really busy: it’s hard to know, living in L.A., to be honest - chances are it’s the former, though...

For those new to your work, can you introduce yourself, please?

We are All The Colours from Melbourne: three gentlemen in their 30s who love guitars, drums; bass and distortion. We decided we should be described as Alt-Rock cos it feels the most fitting - those two words mean a lot to us.

I don’t think there has been a lot of great Alt-Rock in the last decade: it’s a difficult genre to get right presently without sounding like the Foo Fighters.

Heartbreaker is your current song. Can you remember how that came together and what the background is?

It’s a song I (Joshua Moriarty) wrote - but it didn’t sound like anything until we all got in a noisy room and played at each other for a few hours. It’s about a simple concept I think we can all understand: being trapped in an addictive relationship where you are unsure if going back for more is helping you or making you worse.

The video has a trippy vibe! What the hell is going on in it and how much fun was it to shoot?!

This video was the most fun of any we have done...

Keeping it playful and unregimented was the key which meant we could just throw things together and ‘yay’ or ‘nay’ them quickly if it wasn’t working. It was about composition and creating these surreal atmospheres and environments. We had a great location where we were recording for the week – so, we invited Zach (the Director) up to stay and a few models to tag along (and just went for it).

Zach McSweeny directed. What was he like to shoot with?

We love Zach.

He has a can-do attitude - which really helps to keep things moving. We have made quite a few videos with him now - so we understand how to work together and get the best results.

We love you, Zach!

Vol. 3 is your forthcoming (third) album. How does it differ from your previous work and what are the new themes and ideas you bring to the music?

We have an ethos for Vol. 3 which is to write songs that we would have wanted to play on guitar when we were teenagers. It’s about nostalgia and a perfect distortion sound: trying to capture our memories from the 1990s but through the lens of being in our early-30s, now - and, also, seeing what is going on in the world around us.

I guess we want to capture sophisticated simplicity.

How did All the Colours come together? Did you guys know each other from way back?

Myself and Jono (Toogood, Drums) have been friends since we were kids - and have always been working on music together. We met Josh (Mann, Guitar and Vocals) through the Melbourne music scene and were always fans of his work. After Miami Horror finished up touring in 2012, I settled back in Melbourne and we knew it was the right time to start something. We had plenty of ideas and we haven’t really stopped since.

We all have different schedules so we have breaks here and there but there is always something pulling us together - and sense of purpose when we get together.

Last year was a bit of a quiet one for you. What was the reason for that and when was the moment you got back together and planned out your 2017?

I was busy with Miami Horror and moved to L.A. - so we didn’t have as much time together but, even in that year, we did manage to tour Australia with Eagles of Death Metal (which was a blast). We met those guys at their studio in Joshua Tree, where we recorded Vol. 2. We also started laying the tentative plans for Vol. 3 - which is now really starting to take shape.

Your music mixes aspects of the 1970s and 1990s. Is that, essentially, bringing together the music you grew up with – and the music your parents played around the house? What is it about the decades, and Rock, that appeals to you guys?

I think those two decades had a lot in common...

Soundgarden were the 1990s’ Led Zeppelin: Pearl Jam loved Neil Young. There is a similarity there and a path that you can trace.

Both decades had a rebellious nature and they loved guitars (as do we).

The band is based out of Melbourne. It is the one place in the world I long to go to. Can you tell me it’s complete crap and I shouldn’t fantasise about it!? Is it as good as I think it is?!

The band is now two-thirds in Melbourne and one-third L.A - I’m going to try and make it two-thirds L.A. and see how we go after that. Melbourne is a wonderful city: some of the best food and drink in the world; an A-class arts and music scene - it really can rival anywhere else in the world. Don’t sweat it though: it’s still going strong so you have plenty of time to get Down Under and check it out.

What is the music scene like there? Are there a lot of similar bands? What is it like trying to score gigs in the city?

I don’t think there are a lot of similar bands to us at all, to be honest.

I think a lot of the world is still heavily into Electronic music and Melbourne is no different. There is a strong Punk scene in Melbourne - but not so much in the Rock category. We have felt a bit out on our own - but that’s not a bad thing. It can be tough when if you don’t fit into a scene that’s already happening. you are a bit of a loner - but the great thing about that is you have to work harder and get your own thing going.

There is really cool music coming out of Melbourne all of the time: bands like King Gizzard and the Lizard Wizard, Client Liaison; No Zu and Total Giovanni are all doing really fresh stuff.

What tour dates are coming up? Are you coming to the U.K. soon?

We would love to come to the U.K.!

I’m heading over to London in November to record a bunch of interview for my podcast (thebottomofitpodcast.com). At the moment, though, all plans are about record number three and how to get that done.

Touring isn’t our main priority at this point, unfortunately.

How do you guys chill away from music? Is it quite easy to detach or do you spend your downtime involved in music?

Music never stops...

I think for me though it’s the music I choose to listen to in my downtime that helps me relax. If it’s not modern then I don’t have to think about all the competition and palaver that goes along with the current scene and all the trends etc. I like to listen to composers from yesteryear like Henry Mancini and Les Baxter - that’s the stuff that really helps me to chill.

IN THIS PHOTO: King Gizzard and the Lizard Wizard

Who are new acts you recommend we check out?

If you haven’t heard King Gizzard and the Lizard Wizard then you should get on board that one.

The new Cornelius album is boss. He’s been around a long time but is still relatively underground.

There is a band called Lo Moon based out of L.A. who, I think, are great - and Dhani Harrison is releasing his debut record - which I have heard (and actually played a little bit of bass on, too!) and really dig.

That’s plenty to wrap your ears around.

If you each had to select the one album that means the most to you; which would it be and why?

Joshua Moriarty: The Blood Brothers - ...Burn, Piano Island, Burn

This album gives me shivers still to this day. There is so much energy and passion in every single moment on this record: it sounds like madness but there is a deep artistic expression throughout. It’s a reminder for me to always stick to my guns no matter how much your art may offend.

Josh Mann: The Dark Side of the Moon

I'm sure if you've heard it or not but this experimental group in England (during the seventies) recorded it. Do yourself a favour and check out Us and Them/Any Colour You Like on vinyl, through a nice stereo. I'm pretty sure it's the best recording ever made. 

Jono Toogood: (because Josh already took ...Burn, Piano Island, Burn) Kollapse by Breach

Although it's been a while since I've listened to it: it is one of those once-in-a-lifetime records. It is incredibly diverse and opened me to a new world of approaching music when I was younger and in need of it. Over, like, twelve songs; it visits chaos, intense darkness; beautiful melodic transitions and intense “landscape doom." Shiiiiet...gonna go put it on now and go for a stroll in this approaching storm…

What advice would you give to artists coming through right now?

If you believe in what you are doing then just keep going and keep working and keep completing the plans you set for yourself. Eventually, things should work out and, even if they don’t, at least you know you did your best and created something you believe in.

It’s pretty simple stuff, really.

Finally, and for being good sports; you can each name a song and I’ll play it here (not one of yours as I’ll do that)

Josh Moriarty: Loveless – Lo Moon

Josh Mann: I Predict a Riot – Kaiser Chiefs

Jono Toogood: Hellionaries by TRAP THEM

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Follow All the Colours

 Twitter:

https://twitter.com/All_The_Colours

Facebook:

https://www.facebook.com/Allthecolours/

SoundCloud:

https://soundcloud.com/allthecolours

BandCamp:

https://allthecolours.bandcamp.com/

 Spotify:

https://open.spotify.com/artist/2dgA16P7YoQQWR74DKZCiP

FEATURE: The Independent Radio Scene in London

FEATURE:

PHOTO CREDIT: Andy Parsons 

The Independent Radio Scene in London

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MOST of us…

IN THIS PHOTO: Ashley James of Soho Radio

will, if we think of radio and the best stations; our minds will often go to the big broadcasters and those ‘mainstream’ options. I listen to BBC Radio 6 Music and have a lot of time for other stations. The reason I listen to '6 Music is because of the variety of music and the quality of the presenters. They are passionate knowledgeable; each of them has a different personality but all are bonded by the ethos to uncover the best new music and ensure quality is at the top of their considerations. If I am not listening to '6 Music then I am tuned into BBC Radio 2. I like the vibe of the station and the fact it caters for a slightly ‘older’ audience. It is a fantastic station and there is a reason it the most-popular option in the U.K. I switch between the two but, apart from that, my tastes are a little limited. I will, in this piece, bring in an article from Time Out – they have been investigating the best stations in the capital and how the London radio scene has come to rule and define. I will mention two big stations that, I think, show two different sides to London life: Soho Radio and Hoxton Radio. The former, as I will show, was voted the world’s best station at the end of last year. The latter is a based in an ultra-hip part of the capital and projects a youthful and cool vibe.

IN THIS PHOTO: Lucid Stannard at Balamii/PHOTO CREDIT: Andy Parsons

Depending on where you are in the capital; you will find a station to suit your mood and situation. The same way one passes through London and notices the cultural and geographical shifts: local radio mirrors that diversity and ever-changing landscape. Rinse FM is a fantastic and ‘young’ station that boasts a superb roster of eclectic and knowledgeable D.J.s. Horse Meat Disco is, perhaps, the most-loved and best introduction to the station. On a Sunday, as you might today, Josey Rebelle gives way to Luke Howard and James Hillard (of Horse Meat Disco). It is a Vauxhall club-night and was named the best radio show by DJ Mag last year. Rebelle’s show ensures there is a terrific one-two on Sundays.

She has been hosting for six years and kicks things off from 10 A.M. She spins everything from two-step Soul and Funk through to current jams and consciousness-skewing experimentations. Her pleasant and upbeat demeanour makes it is a show one can wake up to – if you are lazy enough to still be in bed then! – and the sheer range and variation of music make it a must-listen for anyone serious about stepping aside from the mainstream. Consider NTS - which has a studio in Los Angeles – it is another young and hip station. That is what one notices with the best radio stations in London: they are aimed at younger audiences and helmed by young D.J.s although the likes of Rinse FM cater to all ages: one suspects their demographic falls within the 18-35-year-old bandwidth.

IN THIS PHOTO: Moxie of NTS

NTS has Moxie at their turntables: his two-hour show discovers the best Dance music in London and (she) is one of the most authoritative and her sheer drive captivates listeners – few have the same zeal and desire to bring music to the listeners. Worldwide FM has a base in London but broadcasts right around the world. Colleen ‘Cosmo’ Murphy hosts the Classic Album Sundays show and co-hosts with Gilles Peterson. Catch her on the Stoke Newington show as she spins vinyl and her own choice of records. One can experience anything from Jazz, Disco and Funk through to Rock – one never knows what is coming next. Have a listen to The Full English Breakfast Show on Balamii It is based out of Peckham and Aisha Zoe’s 9 A.M. show is chat-lite but, as one would hope, puts emphasis on quality tunes. They, luckily, come and spades: a wonderful and wired way to jump-start any lazy day. That is a look at some of the station ensuring London’s radio scene is among the finest in the entire world. I’ll come to look at the two stations, I feel define the diversity and quality in London.

IN THIS PHOTO: Narx at NTS/PHOTO CREDIT: Andy Parsons

I want to quote from an article - written a couple of weeks back. Time Out, like myself, have been exploring the London radio circuit and how it has fought its way to the top of the pile:

“Clandestine stations have clogged London’s airwaves since the 1960s. Stations like Kiss, Rinse and Kool FM were amplifiers for British underground culture in the ’80s and ’90s – playing genres like jungle, garage and grime that were ignored by commercial stations. The reaction was huge. DJs often needed two phones because the lines for shows would get so full, and if a station threw a party, thousands of people would show up. ‘We developed this culture out of nothing,’ says Rinse FM founder Geeneus, ‘and kept on pushing until the mainstream embraced it. Pirate radio was one of the biggest influences in our country and it has never been given the recognition it deserves.’

Just a few years ago, the future of creative radio in London looked bleak. While Rinse started broadcasting online and gained a community licence in 2010, Geeneus says there was a sense that pirate radio had run its course. Stations were disappearing, not just because Ofcom was shutting them down, but because they lost their relevance once the internet meant you didn’t need an FM frequency to share music. ‘There was a stage when there was no one else to relate to,’ says Geeneus. ‘We could see the pirates dropping off and there seemed to be nothing coming after us.’

 Just like the pirates that came before them, many of the new stations are formed from a desire to share music you won’t hear elsewhere. Over 70 percent of the music played by NTS isn’t available on Spotify or Apple Music. Instead, people with excellent taste, like Debonair, share the music that they discover with the world. It’s reflected in the nerdy way many stations are curated. All NTS shows are archived according to genre – from yacht rock to free jazz to leftfield techno. At Balamii they provide track IDs so every song can be looked up online.‘We cater to a subculture of music fans who want to hear something different to the mainstream. That’s who we care about, and who we’re committed to,’ an NTS spokesperson says. (They prefer to identify as a collective to reflect the fact they’re speaking for the NTS community)”.

The article explores stations I have already mentioned but all boils down to one thing: they play music no other station will. One of the main reasons I want to work for a station like BBC Radio 6 Music is to impart my own spin and dynamic. I feel a reason why there are few working-class people employed by broadsheet papers is the fact there is a set way and established order. The working-class, God forbid, might talk about real and gritty issues that could scare off the precious and protected readers – they do not want to hear about the issues in music or sexism whilst they are chomping down their cereal.

IN THIS PHOTO: DJ Goldierocks of Soho Radio/PHOTO CREDIT: Andy Parsons

I guess, in a way, the working-class D.J.s have been forced underground. The big stations do have people publically educated but, to get to those big stations, one has to work their way through the ranks – a certain level of education and experience is needed. We are not in the days of Radio Caroline – when a floating station illicitly broadcast the finest tunes; away from the jurisdiction and clammy hands of the law – and thrilled music-lovers. In a way; there appears to be an exciting movement in the underground that has fewer restraints and boundaries than the mainstream stations – they have edicts and defined playlists; catering to a defined demographic and ensuring the ratings are pushed ever-upwards. That need to compete and fit into particular slots is what sucks a lot of imagination and possibility out of radio. I can write a separate piece on the gender and racial breakdown of stations; why some are compelled to play chart music – others prefer to broadcast a wide range of sounds. As much as I love BBC Radio 6 Music; I know there is a gap in their otherwise glistening torso. There is, to the best of my knowledge, no show that focuses on the unsigned and great unwashed. Yeah, there are shows that scoop and shine the finest new nuggets from music – they tend to be bigger artists and those one can find on Spotify.

I am talking about the artists I interview and feature: the smaller acts who, despite a comparative lack of social media oomph, thoroughly warrant attention. That is where the best small stations in London come in. They are not mandated to play the latest chart hits: their scope is free from constraints and, as such, are the go-to stations to discover what is really happening in music. London is a buzzing city with so much life and musical personality: one feels this is not being honestly documented at our most-popular stations. Because of the passion and variation one hears on the best underground stations; listeners are not only loyal and stick with them but are happy, in some cases, to pay subscription fees – a lot of your biggest stations have to deal with capricious listeners who hop to other options and crunch numbers on a quarterly basis. The new and smaller stations worry not about the spreadsheets and pleasing the top-bods. Before I wrap up with a look at Soho Radio and Hoxton Radio – a summing up from that Time Out piece:

“Our homegrown radio scene is the envy of the world and it’s rapidly becoming the dominant cultural force in the capital. It’s proof there’s still an audience for lovingly curated music out there, even if it’s easier to book a tubby bloke to play Top 40 hits. But that’s not all. This radio revival demonstrates that communities can beat big businesses, and – just like in the days of pirate radio – it’s helping build a global audience for our city’s underground artists and DJs, like Ghose. ‘London’s music scene is healthy at the moment,’ concludes (Balamii founder James) Browning. ‘Very, very healthy’”.

IN THIS PHOTO: Balamii radio studio

Soho Radio, deemed as such, was voted the world’s best radio station last year. I am quoting from an article that explains why:

“Give yourself a pat on the back London, because we're the proud broadcasters of the best radio station in the world. Independent station Soho Radio was awarded the accolade at this year’s Online Radio Awards by Mixcloud.

The station has only been on air for two years and was set up by three mates – Finlay Morton, Adrian Meehan and Dan Gray – who felt the airwaves were lacking in an uncensored station where the DJs hand-picked the songs and weren't dictated by playlists. Or as DJ and musician Finlay put it: 'We wanted a station where a presenter could hear a song and say "That’s great" and just play it.'

The trio thought up the station down the pub and it's now broadcast 24/7 from Great Windmill Street. They beat stations from the Middle East, Africa and America to scoop the prize. So next time you have a crazy idea with your mates over a few pints, think of these guys – it might just be a winner”.

Whilst Hoxton Radio, which I shall end on, has a mainly young line-up of D.J.s – and seems to aim its satellites at the swankiest and most-fashionable destinations in London – there is something a little more grounded and established about Soho Radio. It is a station that has plenty of young D.J.s but brings in a lot of experienced and ‘lived in’ talent. One need only visit the website to see they are, in their own words, “Furiously independent”.

Soho’s online community radio station

Soho Radio is an online radio station broadcasting from the heart of London. Inspired by Soho’s vibrant and diverse culture, Soho Radio brings together musicians, artists, film makers, chefs, poets and the generally curious, from across the globe.

Street-side radio

Soho Radio is true street-side radio, broadcasting directly from our studio on Great Windmill Street. Awarded Best Online Radio Station in the Mixcloud Online Radio Awards 2016, Soho Radio broadcasts every genre, from soul to Japanese grime, rockabilly to the psychedelic, along with comedy, chat and satirical shows.

Radio you can swear by

Our eclectic roster is made up of shows from the likes of music journalist Pete Paphides, dub maestro Dennis Bovell, Hacienda legend Mike Pickering and Primal Scream bassist Simone Marie.

Soho Radio has grown organically since its humble beginnings in 2014, gathering talent, legends and support along the way. There are no playlists and no adverts, allowing the presenters complete, uninterrupted freedom to broadcast whatever they feel.

Take a look at the schedule and one sees a stunning mix of D.J.s and shows. A few of the reasons the station is so popular is listed above. They can swear and talk honestly. They do not take advantage of the fact but, because of the lack of nannying, can talk like human beings and provide a more relatable and honest show. The fact they are street-level and right in the beating heart of London means they have a perfect view of the happenings and goings-on in the capital. They broadcast from a small and colourful corner of Great Windmill Street and pack in some of the best talent in radio. Miles Copeland and Rob Da Bank run shoulders with Aaron Rush and Andy Smith. My choice shows – one should seek them all out - are:

Baby Bam

http://www.sohoradiolondon.com/presenters/baby-bams-good-vibes/

Bam is a DJ, producer and MC from hip hop pioneers Jungle Brothers. A key contributor to the golden age of hip hop as well as the Native Tongues movement; a movement that brought afro-centricity, social commentary, fun story telling with an eclectic mix of music to the art form.

Named after the founder of the Zulu Nation, Akrika Bambaataa, Bam, with Jungle Brothers, inspired conscious hip hop and hip house with the classic dance floor hit “I’ll House You”.

Currently based in London, Bam has been working on both sides of the Atlantic touring with Jungle Brothers. He’s a frequent guest MC at festivals working with The Mouse Outfit and DJ/Producer Mr. Dero. His latest project Bam & Mr.Dero “This & That” features the Jungle Brothers remake of “Because I Got It Like That” is available on Tiefparterre Records.

Clare Lynch

http://www.sohoradiolondon.com/presenters/clare-lynch/

Soho is a remarkable square mile with a remarkable history. From around the end of the seventeenth century it was already an established residential district and has housed such luminaries as Karl Marx, Casanova, Canaletto, William Blake, Isaac Newton, Dr Johnson and the great composers Haydn and Mozart.

The Soho Society was formed in 1972 “to make Soho a better place in which to live, work or visit.” Then as now the principal aims of the Soho Society are to protect the interests of residents and businesses and to enhance the environment which we all share.

Each week Clare Lynch and Leslie Hardcastle MBE, President of the Soho Society welcomes in guests connected with Soho and attempts to answer the question, ‘what is Soho to them?’

http://www.thesohosociety.org.uk/

Grace Woodward

http://www.sohoradiolondon.com/presenters/grace-woodward/

Grace Woodward is a presenter with a background in all things style related, retailer, stylist, designer from the famous to the infamous and everything in between. ‘Style Moves’ is an exploration of how music influences many aspects of our lives from the emotional to the physical and in particular the major impact it can have on what we wear and why we wear it. She loves a Siouxie make-up look the morning after

Sali Hughes & India Knight

IN THIS PHOTO: Sali Hughes

http://www.sohoradiolondon.com/presenters/sali-hughes/

Sali Hughes is a journalist, broadcaster, Guardian columnist and founder of the award-winning salihughesbeauty.com, a large online community forum for women. A former magazine editor, she has written extensively for Grazia, The Observer, Elle, Never Underdressed, Marie Claire, Cosmopolitan, Glamour, The Face, Shortlist, Stylist, Woman & Home, Look, Net-a-Porter and Mr Porter and is Contributing Editor on Red magazine. She is opinion columnist on The Pool and Beauty Editor on The Guardian, appears frequently on BBC Radio 4’s Woman Hour, You & Yours and Today programmes, 5Live, Sky News (where she is a regular newspaper reviewer) and ITV’s This Morning and Daybreak. She is a consultant to major beauty and fashion brands, and lives with her two sons in Brighton. She is the author of best seller Pretty Honest: The Straight-talking Beauty Companion (4th Estate) and is currently writing her second book, out next autumn. She tweets from @salihughes.

The Smoking Guns

http://www.sohoradiolondon.com/presenters/smoking-guns/

‘London’s most exciting DJ duo’- Flaunt Magazine

London born singer/songwriter Iraina Mancini and Canadian actress/filmmaker Samantha Michelle together are The Smoking Guns.

The ladies spin in London’s most exclusive hotspots, and internationally at top music and film festivals.

The Smoking Guns present their favourite 60s rhythm and blues, northern soul, ska, Latin boogaloo, funk and garage rock.

Tune in for a mix of rare finds and much loved classics as the girls offer a little sample of their DJ sets.

www.thesmokingguns.co.uk

Capeface

http://www.sohoradiolondon.com/presenters/capeface/

Capeface is the moniker of 22 year old Tom Smart based over in East London. He’s previously presented on Surrey’s Kane FM, Stag Radio and London based Radar Radio.Varying from Hip Hop to House, Disco to Dubstep, Garage to Grime, Capeface proves his versatility as an artist, and has featured on sites such as DJ Mag, Earmilk, Your EDM and Run The Trap. Gathering all the music that’s been personally influential to him over the course of each month, expect to see all these genres and a whole lot more featured in his shows.

It is no coincident the two stations I have chosen to single-out have gorgeous and eye-catching websites. Soho Radio has pastel colours and neon combining. It is vibrant, alive and reflects the sense of fun, diversity and rebellion of the station. Hoxton Radio has a sense of structure and class but is equally beautiful and engaging:

“Hoxton Radio sits at the top of the pyramid setting trends and influencing Londoners across habitual pop culture pursuits.

We innovate in bringing the freshest insight into fashion, style and new trends bringing fresh music to the airwaves, art to our viewers and picks in food, photography and creative networking across East London.

Our partners include Old Spitalfields Market, Tate, SOS Rehydrate, Frame, Supermalt, Eventbrite, The Hoxton Hotel, Vice, Intel, Shopcade, Tate, V&A, UAL, Foffa Bikes, The Breakfast Club, London Fields Brewery and Hackney Council.

Amongst our roster sits Ashley James, Stefanie Jones, Arielle Free, The Preshaah, Liam Young, Elspeth Pierce, Charlotte de Carle, Sabrina Carder.

Hoxton Radio works closely to support the arts and run in depth coverage for First Thursdays with previews, artist interviews, analysis and editorial coverage on air and online”.

Before I wrap things up; a trio fo Hoxton Radio D.J.s and their most-recent shows - and what they are all about:

Alternative Hour with Elspeth Pierce

http://hoxtonradio.com/alternative-hour-w-elspeth-pierce-9/

This week’s Alternative Hour was the perfect anecdote to the end of the Bank Holiday, with hot new music releases for the Autumn. She also shared her sonic discoveries from the fields of Reading Festival from The Wholls to The Shimmer Band.

Her very special guests this week featured her little rescue dog Edna, but more importantly Shoreditch Dog House, a flexible and alternative dog day centre based in the heart of Shoreditch and opening next week, September 5th.

Track of the week (second time lucky) was from Chroma, a punk indie group with female front harking from Wales. A refreshing change from the male heavy Reading lineup who played on the BBC Introducing Stage.

@shoreditch_dog

About:

http://hoxtonradio.com/presenter/elspeth-pierce/

"Elspeth Pierce hosts the Hoxton Fashion Show, Wednesdays 10am – 12pm and Elspeth Selects new music show Tuesdays 4pm – 5pm.

Style expert Elspeth has her finger firmly on the fashion pulse. She has presented all the off-court action at The Wimbledon Championships for Vogue magazine online, styled and presented live fashion events from The Clothes Show to Britain’s Next Top Model and hosted live radio shows from London Fashion Week. She is also in the thick of the action when it comes to sport having recently interviewed the New Zealand All Blacks and fronted premier league football show Betsafe Football.

As a fashion stylist and presenter, Elspeth started her career at ITV This Morning, styling models and celebs for the live shows. From there she landed a role as freelance fashion writer for Reveal Magazine and as fashion blogger to shopping centres countrywide.

Elspeth has recently joined Candid Magazine as a music writer, contributing a weekly post to Candid’s expansive digital music section and keeping readers attuned to what’s new, sonically.

With her fresh face and vivacious personality, Elspeth has also modelled for various companies, fronting commercial campaigns for companies as diverse as T-Mobile, Ted Baker, TGI Friday’s and McCains".

Ashley James x The Berlin Patient

http://hoxtonradio.com/ashley-james-x-berlin-patient/

Relationships, Dating, Doting and random donations?

Ashley James had it all plus the most banging beats for the weekend ahead

About:

http://ashleylouisejames.com/about-me/

http://hoxtonradio.com/category/ashley-louise-james/

"You can listen to me on my Hoxton Radio show every Friday from 2pm-4pm from anywhere in the world at www.hoxtonradio.com. I’ve recently been nominated and shortlisted for an IARA Award for Best FM / UK Radio DJ, which I’m so excited about. I’m crazy about rap, Hip Hop, trap, grime, and R&B. My love affair with music started when I was very young and I had my first radio show at the tender age of 7 (granted it was just on my own tape recorder taking songs from the radio and making my parents record the adverts, but it was a start). I got my first taste of real presenting at sixteen when I secured work experience at BBC Radio Cumbria, and then went onto work on URN, the University of Nottingham’s radio station, whilst studying for my BA (hons) French & English Literature degree (bonjour). I was also given a guest show on Rinse FM".

Sasha Brown – Happy Buddh Monday

http://hoxtonradio.com/sasha-brown-happy-buddha-monday/

About:

http://hoxtonradio.com/sasha-brown/

"Sasha Brown is a singer/song-writer working in electro-pop & dance/house music. Her sound has been described as Lana Del Ray meets Years and Years. She is also a DJ and has a show on Hoxton Radio Mondays 12-1.30.

Her debut track ‘Good Life’ received Radio Play on Hoxton, BCFM, UJIMA and Burst Radio. Sasha was Artist of the Week on America’s Blog Talk Radio with Cyrus Webb and she has been featured on UBTV, Coast2Coast and Virtuoso Entertainment.

She has recently worked on a deep chill/house EP with German producers Verbund West which is set for imminent release. Her track ‘Talk On’ with Nathan Barato has just been released off the renowned underground label, Hot Creations and received Radio 1 airplay with Pete Tong".

Back from Vietnam and preaching Happy Buddhas like they’re the new Chanel-yes, Sasha’s back. This week Sasha was joined by Bokan’s Head Chef, Aurelie, to discuss Bottomless Brunch and the art of cooking/eating.
http://bokanlondon.co.uk/

Sasha also brought you new music from the likes of Alex Adair, Crazy Cousinz and Softmore.
https://m.soundcloud.com/crazycousinz

Top tip: Book a ticket to this!
XOYO
An Orchestral Rendition of Dr Dre’s 2001
Wed, 20 Sep 2017, 19:00

Notorious B.I.G ‑ An Orchestral Rendition of Ready To Die
Wed, 27 Sep 2017, 19:00

http://xoyo.co.uk/gigs/reimagine-presents-notorious-b-g-orchestral-rendition/

@TheSashaBrown
Instagram: SashaJadeBrown
www.sashabrownmusicofficial.com

That is a snapshot of the station – with a trio of awesome presenters – but, to get a better impression of the station; visit their website and make sure you tune in! Hoxton Radio, alongside Soho Radio, show what an array of incredible D.J.s are in the capital – each committed to provided quality shows and presenting the best new music to the listener. I hope that has provided an insight into the London radio scene and why the capital’s underground and growing stations are the very best…

IN the world.

FEATURE: A Ruby Kick: The Continuing Influence of Kate Bush

FEATURE:

 

A Ruby Kick:

 The Continuing Influence of Kate Bush

________

THE same way I placed an embargo on the mere mention…

PHOTO CREDIT: Evening Standard/Getty Images

of Billie Marten last year – so blown-away as I was with her debut album – this will be the final inclusion of Kate Bush for 2017! Actually, this is no flimsy and crow-barred excuse to explain my endless love for Kate Bush. Next year, in February, it will be forty years since her sublime debut, The Kick Inside, was released to the world – hence, the reason for the title of this piece (ruby is the gift one gets/receives after forty years of marriage). I wanted to focus on her debut but, more than that, explain how that album started the ball rolling – one that would hit and affect so many artists along the way. It is clear and evident Kate Bush affects and resonates in the heart with so many musicians today – male artists in addition to women.

PHOTO CREDIT: Pinterest

What I wanted to do, if I have not left it too late, is compile an audio documentary that brings recorded interviews (with Bush and other musicians) and pairs that with revelations and stories from new artists. There are so many out there who have taken from Kate Bush and carry their music wherever they go. Different albums/periods of Kate Bush’s career affect different artists. To me, and the reason I wanted to write this, was set the wheels rolling for a documentary of some description. It seems foolhardy and a shame to pass such an anniversary by without something authoritative and passionate. An article might not be sufficient so I am determined to find a way of interviewing some people and splicing it with archived interviews.

PHOTO CREDIT: Pinterest

Of course, as with any self-respecting journalist, the ambition would be to interview the woman herself! I realise I do not have the cachet and celebrity to warrant such an audience. If I worked for BBC or another station – maybe I would be able to get that chance (fighting off stiff competition, I can imagine). I wonder whether, as her debut is forty next year, there will be new material. None of us likes to think 50 Words for Snow (her last studio album came out in 2011) is all we will hear from Kate Bush this decade. Of course, she has been busy and stunned fans lucky enough to catch her at Hammersmith Apollo back in 2014. That is a gig that, if I could turn back time, I would make every effort to get myself to – the other one I regret missing was Jeff Buckley when he played New York cafes in 1993 (I was ten and based in the U.K. - so I can forgive myself that). I have Before the Dawn (the name of her live show in 2014) and it is a treasured vinyl that is exceptional to hear. I know I am diverging from the tracks but I am amazed at how, forty years after her introduction to the world, she continues to amaze and…wow.

IN THIS PHOTO: Kate Bush signing copies of The Dreaming in 1982/PHOTO CREDIT: Peter Still/Redferns

Whether you see The Kick Inside as inferior to The Sensual World, The Dreaming and Hounds of Love – seen as her finest album by most – one cannot deny how important The Kick Inside is. Without that album, and the response it gained, there would not have been any more material. It began the process and lit the fire: sparked a wave of fascination that continues to this very day. Before I come to look at the artists inspired by Kate Bush; I will outline why we should celebrate forty years of The Kick Inside. One needs to be patient – 17th February is the official anniversary – but, with four months remaining; it is ample time to dive into the album and chart its heritage. You can, from there, look ahead and draw a line between the album and so many other records. I said how many are inspired by Kate Bush: one finds elements of her debut in some unexpected places! My first experience of Kate Bush can be traced to, around, 1986, I guess. I would have been three (maybe it was 1987) and a V.H.S. of her collected music videos – a sort of ‘best of’ that included songs such as Wuthering Heights.

IN THIS PHOTO: Kate Bush in 1978

I think Them Heavy People is my earliest memory of Kate Bush – that incredible and charming video makes me smile every time I see it. That charm and quirkiness is one of the reasons Kate Bush stays in the heart this far down the line. The Kick Inside does not have the same variations and enigmatic diversions as Hounds of Love but, to me, it is a more solid and impressive work. Bush was a teenager when the album was released and broke ground with the album. One can argue about the voice and how that is the most notable and long-lasting facet. To me, it is the songwriting and control. There was a record label involved – and experienced musicians like David Gilmour helping with production – but look at those songwriting credits! Few albums in the mainstream contain one writer for every song – meaning, that artist takes care of ALL the songwriting. A few names are exceptions but, look closely, and it is hard to find musicians who write their own songs. That seems quite natural and many argue it is not a big deal.

PHOTO CREDIT: REX

A lot of people can’t write music so you can forgive them for bringing people in to help with that side of things. To me, the most worrying thing about modern music is the fact so many popular artists bring too many people in to assist their process. Kate Bush, as early as 1975 (when the recording began), she was putting out her own music and exploring her unique perspective. I have heard documentaries and interviews where she explained her childhood situation: writing songs and performing them to her family; some were so long, members would walk out half the way through! Her dad was especially supportive and would hear his daughter premiere her latest work. It is understandable why Bush would want to make a debut with no other songwriters – that does not make the achievement any less impressive. I shall not go into the song-by-song rundown of The Kick Inside – I have covered that a lot before – but wanted to celebrate an incredible record that helped inspire generations of songwriters.

IN THIS PHOTO: Kate Bush, 1978

I do not know whether Kate Bush realises how many musicians count her as an idol but she has an inkling, one suspects. To me, it is a familiarity and comfort that follows me wherever I go. From the whale song at the start of the album: Moving is a sensual and physical dance that kick-starts a fantastic L.P. I love all the machinations and interpretations of love: from someone who was a teenager at the time of the album’s conception (some songs written when she was thirteen), it is beguiling hearing so much confidence and maturity. We know there are teenage artists today who display a mature attitude and produce stunning music: there is nobody like Kate Bush; nobody who has those same talents and abilities. Stunning to hear someone fully-formed and striking from her first album. That talent and ability grew but, up until 1985’s Hounds of Love, there was some critical disappointment and personal doubts.

IN THIS PHOTO: A shot from the Lionheart photoshoot

Lionheart, her second album, was quickly released (to capitalise on The Kick Inside’s success) and contains fewer pearls – the fact it was released nine months after her debut meant there was a lot of pressure. Producing another record in such a short space would be like conceiving a child the day you give birth – it works in my mind but is going to cause issues, one way or another! With those words in mind (the final four); The Kick Inside’s success was all the more remarkable considering another legendary album released in 1978: Blondie’s Parallel Lines. If Kate Bush would not regain a true potential and spark (after The Kick Inside) by the time of 1982’s The Dreaming – Blondie were challenging her right at the start of her career. Bush won a chart battle with Blondie when Wuthering Heights reigned victorious. Wuthering Heights was released later to avoid clashing with (being beaten by) Wings’ Mull of Kintyre. The fact it was held back put it in the firing line up Blondie’s Denis – Debbie Harry aiming to score her first British number-one.

IN THIS PHOTO: Debbie Harry (1978)/PHOTO CREDIT: Mick Rock

Kate Bush, as we know, became the first British female songwriter to score a self-penned number-one. That is extraordinary in this day and age. When Dua Lipa recently hit the number-one spot for her song, New Rules – she became the first female since Adele (and Hello) to scoop that honour. That speaks more about chart issues and sexism but back in 1978, nobody expected an artist like Kate Bush to arrive. The Kick Inside is as much about its records and story as it is the sound and comparative quality. It is a record that changed so much and, with it, propelled a quixotic, alluring and endlessly brilliant artist into everyone’s lives. It is my favourite album of all time and that is why, by February, I hope to have something worthy of The Kick Inside’s brilliance...

IN THIS PHOTO: Kate Bush in 1979/PHOTO CREDIT: Pinterest:

It is inexplicable why The Kick Inside strikes me so hard because there are, actually, so many different layers and reasons why it remains so dear. I know that assertion is shared with many other musicians and writers. One need only look at the archives to Desert Island Discs and realise why Kate Bush is one of the most-selectable artists in its history. People feel a bond with her: even though they have not met and experience her personality in a second-hand fashion. If one were to compile a Kate Bush greatest-hits album; surely at least three or four of the songs from The Kick Inside should be in that assortment – the official release, I think, overlook the debut too much. I look around modern music and, when interviewing various artists, ask the same question: “Who are the artists you grew up listening?”. The fact Kate Bush comes up so often does not surprise me – it gives me cheer and cements my assertion she is among the greatest artists the world has produced.

IN THIS PHOTO: Kate Bush during a photoshoot for Hounds of Love (1985)

Most people who name-check her are women but there are plenty of men who take from her music and can relate. There is something gender-neutral and double-blind about Bush’s music. Call it an androgynous form of sexuality or an exceptional artist who can reach every human who hears her music – forty years from her first recording and it seems more people are inspired by her than at any other time. Does that mean musicians are uninspired by new music and finding more truth in older records?! Perhaps so but I think there are special musicians who transcend time and situation and have that perennial appeal. I cannot name all the artists who I have seen source Bush as an inspiration – you can look back at my blog if you wish – but there is no danger of a drought. One of the most interesting reasons albums like The Kick Inside are so important is the huge artists that have been touched by it.

One can hear shades of Kate Bush in Tori Amos. The American musician recently released her album, Native Invader, but if one looks back at her debut, Little Earthquakes; there is so much to compare with Bush. The cover-art shows Amos crouching in something that looks like a concrete picture frame. I cannot help think of Kate Bush and his mannerisms when looking at that photo. The same way Kate Bush carved a template for female songwriters in the late-1970s and 1980s: Amos wrote the book for female songwriters in the 1990s. Little Earthquakes arrived with seismic potency in 1992. It is a less flighty and quirky work than The Kick Inside but its softer and more emotive moments – of which there are many – can be traced to Kate Bush. One hears a lot of The Kick Inside in Little Earthquakes; the raw emotion and revelations of The Sensual World; the maturity and explorations of Hounds of Love. Under the Pink, released in 1994, changed dynamic and sound and, with it, put me in mind of The Kick Inside.

IN THIS PHOTO: Tori Amos/PHOTO CREDIT: Loren Haynes

I cannot listen to songs like Cornflake Girl and not be reminded of Oh to Be in Love or Them Heavy People. Kate Bush’s influence is clear throughout – whether Amos listened to The Kick Inside (or a later) album beforehand I am not sure. I will mention London Grammar and Björk a little later – but there are so many different acts that trace their roots to Bush. Lady Gaga’s comingling of art and Pop stems from Bush – not to mention her bold and confident persona – as does the songwriting brilliance and allure of PJ Harvey. Kate Nash (is another Kate) that takes inspiration from the divine Ms. Bush – one can add Joanna Newsome and Bat for Lashes to that list. Many easily jump to Kate Bush when they hear an artist who is different and a little eccentric. Those who do not fit into the mainstream and do not follow the pack are tied to Bush.

I am not sure whether this is lazy labelling but it is humbling to hear wonderful artists take Kate Bush’s example and continue her legacy into the modern-day. Other modern artists like St. Vincent were drawn to Bush’s theatre, narratives and oddities – St. Vincent has an attachment to Wuthering Heights. Bright Light Bright Light, Wild Beasts and Placebo are among the male artists who count Kate Bush’s work among their favourites – Bright Light Bright Light hails The Sensual World as his joint-favourite record. Goldfrapp is another act that springs to mind when looking at Kate Bush’s musical progeny. They have a connection to nature and the world – elements and facets evident right from The Kick Inside onwards. A 201-piece, written around the time of Bush’s performances in Hammersmith, spoke with a collection of artists who are inspired by her.

One reads the piece and is amazed by those artists one did not expect to count themselves as fans:

Catherine Pierce (The Pierces)

The first time I heard Kate Bush’s Running Up That Hill I was moved to tears. I don’t remember a song ever striking such a chord with me. I was going through a difficult time and it was as though she was reading my heart. Still, every time I listen to it, it invokes a feeling that makes me instantly go inward. It’s one of those songs that I wish I had written and would love to cover, but wouldn’t dare because I don’t think there could be a more perfect version.

Rumer

Having six older siblings, I got to listen to artists like Kate Bush from an early age. When rifling though my older sisters’ bedroom one day, I found Hounds of Love. I loved the album so much it barely left the tape recorder, although I always had to run across the room to fast-forward Waking the Witch because it was too scary! That was my first introduction to her wild and rugged musical landscape, and that unique inner world. She is such a rare artist of our time, uncompromising yet always feminine, with no walls to her expression.

IN THIS PHOTO: Catherine Pierce/PHOTO CREDIT: Ken McKay/ITV/REX

Sharon den Adel (Within Temptation)

We covered Running Up That Hill in 2003. I grew up with Kate Bush because my dad really liked her music. She was always in the background. When our band started there were some parallels with the way I was singing, the falsetto voice. People were always comparing us. It wasn’t a sound that you hear a lot, especially in rock like I do. With some of her songs, when you take them apart, they don’t seem possible. If you look at the rules for how you write songs, they shouldn’t work, but they do. She’s one of a kind. She’s the icon for a lot of female vocalists. She inspired so many of us.

Emily Kokal (Warpaint)

I was late to the Kate Bush fan club. A few years ago a friend of mine spent an evening showing me videos and songs and telling me Kate’s story, and I was so excited to have this woman’s work to dive into and to discover what a pioneer she was, and how influential she was on artists I have loved. Her melodies are unreal. Singing along with Kate is like vocal Olympic training. I floated down the Nile for a week and she was my constant companion. Cloudbusting — ahhh. She’s like Glinda the Good Witch’s punk sister. She’s a champion and an innovator and I’m so happy she exists and expresses her beauty for us all to enjoy.

IN THIS PHOTO: Imogen Heap at 2010's Grammys

The piece brought in Boy George and Donny Osmond into the feature – showing it is not only female artists that are compelled by Bush’s rare majesty. Benjamin Clementine is in there – someone who is about to release a new album – and, before moving in, two more examples the article sources:

Imogen Heap

When I was 17 and getting my first record deal, it was the likes of Kate Bush who had contributed to labels taking me seriously as a girl who knew what she was doing and wanted. I was able to experiment and left to my own devices in the studio. Kate produced some truly outstanding music in an era dominated by men and gave us gals a licence to not just be “a bird who could sing and write a bit”, which was the attitude of most execs!

Tom Fleming (Wild Beasts)

Like most people I started with Hounds of Love and went outwards from there. Now The Sensual World is my absolute favourite. There’s a song on there called The Fog, which I think was the most captivating four minutes I’d ever heard at the time. It’s remarkable. She was instrumental in moving our band down certain routes — her and Antony Hegarty, Michael Gira of Swans — these writers who are playing with sexuality and delicacy versus strength. It’s all really interesting and not macho, which is really important to us. Also, she’s seen as this pop star and doesn’t really get the credit she deserves as a producer. She was really ahead of the game. I haven’t met her but I expect she’d be quite sane and normal, which the best people usually are.

IN THIS PHOTO: Wild Beasts' Tom Fleming (2014)/PHOTO CREDIT: David Daub

That is an incredible and broad list of names. It covers the mainstream: look at the new artists coming through and you’ll find acts from five/six continents, playing all genres, who have been inspired by Kate Bush. Literally, I know an Israeli Future-Beats artist and Brighton Folk singer who counts Bush as an influence. I said I would mention London Grammar (but didn’t) but cannot talk about Kate Bush and not mention Hannah Reid. The trio’s vocalist has the same drama, beauty and range as Bush. I can hear elements of Kate Bush’s modern albums in Hannah Reid’s voice. Although Reid has a deeper voice than Bush: there are some definite comparison and that common (immense) beauty that both possess. Florence Welch’s Florence and the Machine, I understand, are gearing up new material. How Big, How Blue, How Beautiful was released in 2015 - and gained huge and passionate critical acclaim.

IN THIS PHOTO: Florence Welch/PHOTO CREDIT: Laura Coulson

Ever since the debut, Lungs; one can hear Kate Bush in the music. Pounding, bellicose decelerations such as Drumming Song and Rabbit Heart (Raise It Up) have the same percussive and vocal triumphant as Running Up That Hill (A Deal with God) and Babooshka. Welch’s tender songs find roots in albums like The Kick Inside and Lionheart. Unlike a lot of the artists I have mentioned – who, I feel, can be traced back as far as The Kick Inside – Welch’s Bush influence, to me, begins around 1985 – when Hounds of Love was unveiled. One can hear the same drama and compositional ambition/excitement in the early Florence and the Machine material. Although Welch wrote songs with Isabella Summers and Paul Epworth (and a few others) on Lungs does not detract from her songwriting ability and talents. There is a lot of the compelling and fascinating woman in that album. Welch has developed and changed her sound: growing more confident and singling herself as one of the finest singer-songwriters in the world. I am not sure what form a new Florence and the Machine album will take but there are rumours the heroine is laying down sounds – maybe we will get an album by the end of the year?!

PHOTO CREDIT: Daniel Jackson/Trunk Archive

I wanted to conclude this section by looking at two artists that have helped continue Bush’s work and bring it into the modern age. The first, actually, is someone who picked up the mantle in the early-1980s and was one of the first popular artists inspired by Kate Bush: that would be Madonna. Everyone can see comparisons between Kate Bush and Madonna. The same sense of show and self-empowerment; the incredible songwriting and sonic/thematic shifts between albums – the ability to stand out as an icon and inspire legions of fans. Madonna projected a more provocative and sexual version of Kate Bush but many critics and commentators noted how Madonna saw how Kate Bush blossomed and progressed in her early career and ran with that, to an extent. Madonna, as her career developed, went in different directions but her image, confidence and artistry can be compared with Kate Bush. I feel Björk is one of those artists who is seen as unique – she inspires so many others and is one of the most groundbreaking and extraordinary artists since the 1990s. Her debut album arrived the same year as Kate Bush’s The Red Shoes.

IN THIS PHOTO: Madonna

Not that the Icelandic pioneer would have had intel about the recording and taken from that – it is interesting and one can definitely hear some comparisons between the works. The Red Shoes arrived after Björk’s debut but The Dreaming (1989) arrived at a perfect time to inspire a hungry and original artist. From her earliest days; I could tell there was a bit of Kate Bush in Björk. The way Björk experiments and pushes the boundaries of music; the way each album has a different skin and brings in new elements, Björk does not repeat herself and ensures every record progresses from the last.

IN THIS PHOTO: Björk

Her forthcoming record will be prefaced by The Gate – her single is out later next week and gives an indication into an album she says explores the purity and luminous nature of love. It is her ‘Tinder album’, as she says, and represents transitioning from break-up to rekindling a desire to be in a relationship. The way Kate Bush put art and depth into music: Björk continues that and is the most notable and strong successor to Bush. I speak like Kate Bush has died but I mean – the artists mentioned – they are picking up the baton and keep the flame burning bright. I hope Kate Bush does release more material but, even if she does not, her music lives on through some of the best artists of our day. Björk is a perfect example of how Kate Bush’s incredible talent and music has inspired the new generations.

I am excited by the approaching fortieth anniversary of Kate Bush’s debut album, The Kick Inside. It is an album that means more to me now than it did when I was a child. I cannot believe how fresh and inspiring it is all these years down the line – yet, it sounds like nothing else and stands on its own. The fact few other Kate Bush fans do not rank her debut as the best does not dent my enthusiasm: I feel like it is my little secret and I have to explain why it is so good. Nobody can deny how important it is and how many artists, consciously or not, have been moved and affected by the record. It does not seem aged or outdated at all. The Kick Inside is a fantastic work that began a glistening and exciting career.

IN THIS PHOTO: Kate Bush in 1979

Later work would cement and elevate Bush’s name and brilliance to new heights and audiences. She is a talent that continues to inspire new artists to come into music and explore themselves with freedom, brash expression and boldness – unconcerned with the mainstream and fitting into holes. That might be the greatest thing Kate Bush has given us: an unorthodox and entrancing spirit who, back in 1978, could not be compared with anyone – she remains distinct and unique to this day. I am touched so many people have taken so much wisdom and beauty from Kate Bush’s work. People will be talking about her work forty years from now: it is timeless and, as such, when The Kick Inside’s anniversary arrives; we should not only celebrate a remarkable debut album but…

A truly brilliant artist.

FEATURE: The Gig Experience: Are We Losing the Ability to Connect?

FEATURE:

 

The Gig Experience:

  Are We Losing the Ability to Connect?

________

FUTURE pieces of the day will contain a lot more…

sugar than spice. In fact; this is not meant to decry gig-goers and question impunity. What I wanted to address – whilst not a new subject – is the way we are approaching the live experience: how many of our best venues are facing closure and extinction. I wanted to split the piece into two halves – without rambling on – and ask why we feel so inclined to buy tickets to see an artist – only to disconnect ourselves from the performance when we get there. This is not the case with everyone: there are many who take a more traditional and proper approach to music. I do not own a Smartphone and one of the reasons for this is I do not want to be endlessly distracted and obsessed by machinery and technology.

It not an original observation when I say so many people are hooked on their phone – to the point when one will walk the street to be met with an approaching horde of phone-staring zombies unaware of the logistics of walking. They careen towards you and, even if they look up, often go straight through you. It is a worrying sign we have to document our every movement – some of these emanating below the waist – and keep everyone updated with every pointless thought and irrelevant status update. I am guilty of indulging the anonymity and security of social media. We do not have to embrace and properly connect with a human on social media: one can say what they want and message someone without becoming involved with them or meeting them at any point. It gives us a rather strange group of ‘friends’ where can surrender sociability and dispose of the human touch. I worry we are more absorbed and fascinated by screens and technology – few are worried they are slipping away from humanity and spending their free time hooked to laptops and Smartphones.

PHOTO CREDIT: Getty

One should, when affording themselves the chance to get out into the world, should not carry their phones like a weapon – a warrior going into battle that needs to wield it at the mere whiff of approach enemies. I cannot judge people too much because I spend most of my free-time on the laptop. I have no choice when it comes to what I do. I never go to a gig and spend my time there taking videos. I understand someone might want to take a picture of the venue they are attending. It documents you were there and is good for prosperity. Why do people feel the need to catalogue the entire duration and development of their gig-going experience?!

IN THIS PHOTO: Prince; who wanted the audience to dispense with phones at his final gig

From the time they are on the train (or in the car); one is presented with an array of photos and videos – right until they get out the venue and are on their way back home. It is like, when seeing people hold phones aloft, there is an approaching alien craft from above. People put their phones up and seem to form some messianic circle. Smartphones have their uses (it passes me by but I am sure there are some) but photography is the main one. It is easier snapping something and is one of the biggest breakthroughs we have had – one does not need to wait days for films to be developed and processed before they can see their images. I am glad we have moved on in that sense: the fact we have gone to such extremes means we forsake eye contact and interaction altogether. One cannot go to gigs without people taking pictures of the artist. I have seen videos of people watching a gig and it made me think: they have not seen a second of the performance with their own eyes!

IN THIS PHOTO: Beyoncé; who is one of few big artist to ban professional photography at her gigs

One of the reasons I do not go to gigs a lot is because I feel alienated and distinct – like I am watching the performance on my own. So many people feel they need to prove they have been to a gig. We cannot, in this day, say we have experienced something without photographing it. We feel this need to visualise every movement and interaction we have – music should be immune from this. Music photographers are different. Their job is to take the best shots from the field; capturing artists at their purest and least self-aware. Live performances are the antithesis of the social media/streaming culture we are growing up in. It is the chance to see the artist in the flesh and connect with them on a human level. Why would one go to a prestigious and expensive gig only to record everything without seeing a moment through their eyes?! I know artists have tried to tackle this recently. Prince’s last gig was supposed to be a mobile-free territory but I know some did slip through the net. Kate Bush, when she performed a set of shows in London a few years back, insisted the audience stay away from their phones and watch her perform without them.

Largely, people abided and accepted this request – a sense of respect and obedience that is rare to find. One knows there would have been a few people that ignored the plea and filmed everything on their phone. Technology companies have released phones that can sense when someone is at a gig. Apple trialled this last year and, the way it works, was a radar/sensor can detect the environment and prohibit one from videoing and photographic at a venue. That is a positive thing every company should roll out. One imagines there would be an outcry but we are not stopping people from taking photos away from music. I find it pointless going to a live performance and doing anything but watch what you have paid to see. Live music is one of the most exciting and immersive experiences one could witness. We have become so entangled in the Internet we have forgotten how to be a human being and remove ourselves from the machine. This ignorance and self-obsession extend to dates, holidays and everything around us. I rarely take photos and, when I do, it is to document something I struggle to describe with words – a tourist site or rare event. I would never take a camera to a gig and have no interest boasting about the experience on social media. The fact I was there and know a gig happened is proof enough – I do not care what people think and whether they need evidence.

The Good Ship in Kilburn is one of the latest venues to face closure. The London venue’s doors will shut next month because of the curbs on late-night revelry. The Evening Standard reported on the closure:

“Last year, police and Brent council reviewed the pub’s late-night licence after concerns about events finishing at 3am and security arrangements. Mr McCooke was able to keep his licence with an earlier finishing time of 2am but it affected trade on Friday and Saturday nights.

It will be the third music venue to close in Kilburn since 2011, following the loss of The Luminaire and then Power’s Bar.

Mr McCooke said: “We are the only late-night music venue in Brent. When the council looked at our licence I thought this will kill the business.

“But the measures they put in place with the early closures meant it was a slow death.”

Mr McCooke said he now wanted The Good Ship to “go out with a huge bang”.

He added: “Kilburn has an amazing history, with The Beatles, The Smiths, Rolling Stones and The Who playing here. Kilburn has always punched above its weight but in less than six years three venues have been closed, which is shocking”.

One can, legitimately, draw a line between the closures and the way we choose to interact with other people. You can argue people have less disposable income to spend on live music these days. I do not think we have become poorer in that sense. I feel we prefer to stay in because technology allows us to watch whatever shows we want and opens a whole world of entertainment. There are plenty of great artists out there so one cannot say the lack of quality is driving people away. So many of us are absorbed in technology to the extent we forget how to interact and socialise. We are going to extremes. People are either not going out at all or they are going out and drinking to excess. There is no middle-ground that allows people to go to gigs and act cordially. The trouble and controversy that surrounded Fabric’s closure – and subsequent rebirth – was to do with drugs and trouble at the venue.

IN THIS PHOTO: Fabric nightclub, London

The Council and Government have tightened up security and regulations to ensure that pattern of events do not repeat themselves. A few bad apples do not represent the entire music-going public but it is troubling so much trouble and controversy leads to venues shutting their doors. Now people are filming gigs it means many are able to sit at their laptops and watch a concert. The issue is more complex and there are other reasons why so many venues are closing - there are so many venues it is impossible to keep all afloat; people are bonding more with streamed music – but I worry we are abandoning live music and not treating it with due respect. New artists need people to come see them and help them thrive: if we are glued to phones and prefer to spend our time online – how viable and prosperous is the future of music?

PHOTO CREDIT: Getty

I am pleased people are not sitting back and letting venues close without a fight. The fact so many big artists are banning people from videoing their gigs is a sign they want people involved and not streaming their performance to the masses. Eminem, when he played Reading and Leeds last month, banned the BBC from streaming his performance. He wanted paying punters to get exclusive access to his intense and near-career-best show. That is fair enough and I think he would have been aware people at that festival were videoing it themselves. I guess he cannot stop that but so many artists want fans to connect and watch what they are doing. If we get too reliant on technology and feel a desperate need to photo every stage of a gig – how does that impact on our enjoyment and the purpose of seeing an artist?!

PHOTO CREDIT: Holler London

One might as well sit at home and listen to the artist on YouTube if that is the level of involvement they want. I worry we are going further and further down a hole we will be unable to climb out of. The more prevalent technology becomes; the more we rely on it and replace human connection. I know many people are exempt from my point and many people use cameras/phones sparingly to capture important musical moments. One can understand if they want to take the odd shot of a band when they are in mid-flight. It is okay to video arriving at a festival but many people are taking things to an extreme. With so many venues closing its doors, it is imperative, more than ever, people fight for live music; put the Smartphones away and…

GET involved.

TRACK REVIEW: Raveen - Always

TRACK REVIEW:

 

Raveen

 Always

9.4/10

Always is available via:

https://www.youtube.com/watch?v=uU0Bx6ichDs

GENRES:

Electronic; Alternative

ORIGIN:

Montreal, Canada

The album, Always, is available at:

https://raveen.bandcamp.com/album/always

RELEASE DATE:

28th July, 2017

____________

IT is nice to be back in Canada and assessing a band…

that is getting a great reception right now. Always is their new album and has been collecting some terrific and positive reviews. I will come to look at that in more depth but, for now, I wanted to address Montreal artists and the music scene there; music that is subdued and lush; what can inspire songwriting and a new creative direction; collaborating with other musicians and international artists coming over here – a quick nod to the band market and how tough it can be to distinguish yourself from the pack. Montreal is a productive and fertile spot for new music. If one looks at the established artists that have come from the city – Arcade Fire and The Dears among them – it seems like a part of the world that encourages experimentation, depth and intelligence in music. One need only listen to Arcade Fire’s back catalogue to experience a group always looking to push music and engage the listener. That is the case with Always and, like Arcade Fire, they inject so much depth and texture into their songs. There are, of course, other acts in Montreal – not all of them go for deep and detailed music. If one wants to experience an array of lush, spellbinding and memorable live performers – Montreal is a city you want to go to. Patrick Watson, one of the most established artists from Québec and someone who can silence audiences with his tender and majestic voice. The Dears have released five live albums: fans and followers adore their performance so much; it is small wonder the band has taken this decision. A-Trak has helped push and pioneer Electronica, Hip-Hop and supports the best artists from the genres. His scratching and fusion techniques enthral crowds – someone guaranteed to lift the crowds and provide an incredible, engaging night. Half Moon Run are a band best enjoyed in the live setting. The complexities and nuances of their songs come to life when they perform to a live crowd. Chromeo is another fantastic band who provide a fun and are a cheeky duo that has amazed and excited audiences for years.

Jazz Cartier is a star who has played in small venues but is on the rise right now. Tracks such as Stick and Move have got people throwing their hands in the air and letting their voices ring loud. He is a performer one should keep their eyes out for in the coming months. Calvin Love and Dilly Dally are terrific but Moon King, an incredible duo, whose electronic-tinged Indie-Rock is one of the best live experiences you’ll see in Montreal – they are pushing their music to new territories and are an incredibly exciting proposition. Camille Poliquin is an arresting performer who sings under the moniker of Kroy and has an arresting voice that has seduced masses. Charlotte Cardin sings in French and English and boasts a smoky, scintillating voice that has, until recently, scored cover songs. She is producing original material: it is their live shows, and the way she engages with the crowd, that has won her legions of fans. Her video, Main Girl, was released a few days ago and has been gathering immense praise. This is just a small gathering of Montreal artists who are defining this generation. The like of Arcade Fire has hit the mainstream: eyes are looking at the underground/new, emerging acts and what they will provide. The likes of Charlotte Cardin and Half Moon Run are going to be immense mainstream acts that will compel people to investigate Montreal more. Raveen is among that list who deserve huge acclaim and support. They differ to the artists I have mentioned – standing alone and providing a unique combination of sounds and textures. I am excited to see the band progress and make their music known to the wider world. They are popular and applauded in Quebec but have the potential to wow the U.K. and Europe. We would love to see them here: few comparative artists exist so it would definitely fill a void.

The past few months have seen me address rawer and urgent acts that do not really take a more measured and explorative approach to their material. Raveen, when listening to Always (the title-track), mix Electronic sounds with R&B/Pop undertones and takes the listener somewhere special. I admire musicians that take the time and craft music that blends sounds and components to deliver something sumptuous and mesmeric. That is what one gets from the Canadian band’s latest single. I am a little late to review it – it has been out for a couple of months – but now their album is released; many people are discovering gems and jewels from Raveen. Whether exploring synth./keys or bringing strings into the mix – one always is left affected and changed. There are a lot of acts around who take little time to engage with the listener and provide real depth in their music. I think, in modern music, there is the need to produce something relatable and instant. People want to bond with a song quickly without having to do too much thinking. That might be unfair to many but I feel there is a tendency, for mainstream artists, to get into the head as quickly as they can. One can find some nuance and academia in a lot of artists but is becoming rarer. Maybe we are training ourselves to adopt the short and concise songs that do what they need to do and exit the memory pretty soon. This might be the definition of commercialism but, if one looks hard enough, you can find musicians to appeal and create for those who want something special and deep. That (deep) is a word I bring in but it is entirely justified in this context. Raveen pair lush and immersive compositions with heartfelt lyrics – it is a wonderful combination that provides something unexpected and pure.

I will move on to other considerations but, before then, wanted to remain where I am. I was talking to someone the other day who said he listens to genres like Classical because there is nothing enriching or memorable in the current mainstream. His exposure to music comes from radio and his argument was few acts articulate any sophistication and intellectualism. Not that Raveen are Classical composers: they are contemporary and accessible but deal with tender, shimmering strings and illuminating colours – paired with moodier and introspective tones and quotable lyrics. If one considers all those elements and, excluding lyrics, it has the same dynamic and appeal as Classical music, I guess – a modern form that acts as a gateway and Segway into the mainstream. That is why I feel Raveen are a special and profitable act. The guys differ from what is out there and can offer the listener something genuinely engrossing and nourishing. I am making their music into cuisine and something intangible. In actuality; the vocals and lyrics are as treasurable and impressive as their soundscapes. I will come to look at that in a minute but feel Raveen perfectly sit in a Montreal music scene that is among the most eclectic and sensational in the world. I have mentioned Patrick Watson who, in addition to being one of Canada’s finest artists, brings strings and yearning compositional elements against stunningly pure and beautiful vocals. The city is not beholden to a single type of music and has only one rule: only the best and brightest will make it to the top. Living in London; one can see a lot of artists not worth much time – there are amazing musicians but not all of them are deserving of real affection. I get a better sense of quality control in Montreal. Maybe it is the way artists approach their sounds and connect with the listener. What amazes me about bands like Raveen is their music is new and unique but, in a lot of ways, instantly connects. You do not have to listen too long before the music seeps into the soul and remains in the mind.

As I said; it is not only the music that hits the bases and lingers long in the imagination. The band’s lyrics are special and go far beyond the traditional and clichéd words one might experience in today’s music. That sound like I am old and begrudging of all new music: I feel few bands take the time to craft genuinely interesting and introspective lyrics. On Always, the immense title-track from the band’s new album, it is the three members working strongly – joined by other players to lead to a cohesive and collaborative wonder. The song itself was inspired by singer/producer Eric - when he went on a trip to Europe. I am not sure whether it was a particular country that compelled the song – perhaps the whole experience provoked the song. Europe is one of those continents with so many different languages, cultures and countries. It is a varied and fascinating part of the world so it is not surprising a Canadian artist would find the experience fascinating. I have never been to Canada but can imagine there is stark difference and polemics between the two areas. That sort of diversity and foreign soil would get the brain racing and lead to something self-examining and inspiring. I am curious why musicians travel to areas like Europe and come back with songs in the head. I would urge any musician to go to Europe: it is a fantastic place to gain inspiration and bring a fresh perspective to the music. That brings me to the subject of travel and how important it is. I feel one of the reasons a lot of modern music is unimaginative and predictable is because few artists travel beyond their homes. So many songs about love and what is around them – few take their lyrics further and bodies beyond the boundaries of the familiar. Raveen did not need to rekindle a spark or gain new perspective. Their music has always been fantastic but the fact Europe lead to the title-track, in many ways, was vital in the album’s recording. The record looks at love and grief; the early stages of adulthood and perceived loss.

There is so much going on there so I am fascinated to know what it was about Europe that sparked such intense and personal themes. This is a new direction for Raveen who, before their new material, sported a slightly different sound. The evolution into a lush and heartfelt direction has been inspired by a number of things. Maybe European travel, and the need to discover new lands, has heralded the desire to create music with more depth and meaning than anything they have done before. A few seconds into Always and one is settled, hooked and amazed. Listening back to the band’s older material and you can see the development and evolution. I am fascinated finding out how instrumental that jaunt to Europe was – and what it was about the time there that led to Always. If one listens to the album, they will find a lot about the boys’ personal lives and transitions; the changing nature of love and life – the loss they have encountered and the positive times they have ahead. It is an album that brings together so many different emotions and experiences into an intoxicating album. I feel few artists are daring and thoughtful enough to provide the listener with anything that subsumes predictability and the cliché – they have penned an immense album that sounds unlike anything else. I will finish off this section but know how important and pivotal travel can be in terms of creativity. Depending on where you go; it can unlock something in the mind and lead to some stunning and unexpected music. This is what Raveen have done and, one argues, as they tour different nations and cities – that will enforce their music direction and lead to some wonderful new moments. Their latest single has inspired me to be broader with my horizons and take time out to travel more. Not that I am going to turn it into music: it will be useful in terms of personal growth and revelation.

On Raveen’s latest album/track; there is more of the collaborative spirit than ever before. It is clear the guys have changed their music and felt the need to add something different to the mix. They have not hugely departed from previous work but have changed it enough to bring in new fans and show an impressive sense of growth. It is a more mature and complex sound than anything they have tackled in the past. Not only are their lyrics more heartfelt and personal: the music, and its arrangement, parabond different shades and colours. The band, on Always’ title-track, brought in more than ten vocalists and four/five string players. The song builds gradually but, when it truly hits, it is a fantastic experience that takes the breath somewhat. Raveen wanted something more collaborative and uncharted on their latest track. It is wonderful hearing other musicians and singers come together to bring the listener a symphonic, kaleidoscopic and hypnotic track that is hard to get out of the mind. One of my biggest hatreds in music is when artists needlessly collaborate with other singers. You get a lot of Hip-Hop/Rap artists bringing out songs that have loads of other artists on it. One wonders whether it is a pitch for commercial success and streaming figures. Does a song need four or five other artists on there?! It makes the song crowded and cluttered – the other artists hardly add anything and obfuscate the meaning and singularity of the song. It is galling hearing so many artists thrown names together haphazardly – little regard for concision, quality and focus. I appreciate an artist that wants to conspire with others but it is the sheer gaudiness of things that put me off (some artists). It is not only reserved to genres like Rap – Pop artists are getting into the habit and, the biggest stars at least, bring so many other bodies in. What I love about Raveen is the fact they took the decision to introduce other players. They have not thoughtlessly brought random singers and players together in a cynical attempt at generating hype and spotlight.

I will skip to the conclusion soon but, before going there – and looking at the song, of course – wanted to talk about international artists arriving here. I am unsure whether Raveen has plans coming to Europe but, considering the impactful way the continent has on the band – it would be great seeing the guys come over here for a spell. The U.K. would love to see them and there are plenty of venues that could host them. I know a lot of North American acts that have come over here – with the intention of staying for a few gigs – only to see them in-demand and remaining here for many weeks. Maybe it is the fact we are not used to seeing North American acts; perhaps it is the potency of the music – there is something that gets into the heart and means we do not want to like them go. Raveen would do well in Britain but I wonder whether they have the finance and crowd-base to attempt that. There is a good support for them here but they are building a reputation at home right now. It is vital ensuring you have your home territory owned and covered. Montreal is a large territory and one with many other acts playing and striving. Before one goes abroad and tries to conquer foreign soil: they must ensure they have a foundation at home and demand where they live. I feel Raveen have been playing for a few years now and have cemented their name in the local minds. They are gathering terrific reviews and have a number of gigs lined up – they have performed some great dates already. Maybe they are looking to 2018 and where their music will take them. It would be great seeing them here and embarking on a mini-tour of Europe.

The band-market, as we know, is a competitive and busy one. Maybe solo artists are taking more spotlight right – I am curious why there has been that shift; maybe it is easier succeeding and growing if you are on your own. Bands cannot be ignored and, not only are they important, but the desire to discover future-legends is intense. Many are looking out at music and wondering where those upcoming stars are. The mainstream has a few great bands but one sees more solo artists succeeding. It is interesting exploring why this is. I guess tastes are shifting or, perhaps, bands are more commercial than solo artists – in a way that means they are predictable and forgettable. The new breed of artists is exciting me because there are some fantastic bands emerging. What I know for sure if there is a lot of competition between the new acts. Gigs are sparse and that opportunity to ascend to the mainstream is limited to a select few. This might sound depressing but it is interesting seeing how the mainstream differs to the underground. Raveen are based in a city where there are so many exceptional musicians – each has the potential to go a long way and make a real impact on music. I am confident the boys of Raveen will succeed and remain because they have a progressive and intelligent approach to their music. Creating something genuinely new and enjoyable is harder than one might think. Bands that succeed and inspire new generations are those that go against easy options and try something harder. The introspective and subdued tones one hears on their album is enough to get them up the ladder and closer to the big leagues. As I said; the reviews are coming in and there is a lot of positivity flowing around. It is hard distinguishing yourself but, if you take time to craft music that is pure to you – but separate from everything else out there – it can be hugely effective. That is the case with Always: the album has resonated with so many people and being spoken about in excitable and impassioned tones.

Always opens with something of the Enya about it. Not that this is a slight: it is a rare thing to see a song that has such grace and etherealness. There are hummed and choired vocals; a majestic sense of flight and the unknown. One imagines themselves flying and floating through the air. A sublime and spine-tingling vocal coda bonds with tender notes and unobtrusive compositional elements – it is a calm and restrained opening but one instilled with so much beauty and possibility. Even without a single word being properly articulated; one is helpless to resist the spectral nudity and luminous passion of the song. That elongated and ecumenical coda continues for a while and does not lose any of its magic and addictiveness. It is impossible not to be drawn to the flickering flame that is provided. Rather than singe one’s wings and perish: there is a warmth and welcoming hum that attracts the curious and keeps them cocooned and encapsulated. When a vocal does come in, in a way, it pairs the sweetness and beauty of Patrick Watson with the deeper sounds of James Blake. Building around electronic flickers and Classical suggestions – it seems appropriate those names come to mind. One gets a sense of experimentation and edginess; paired and balanced against the sublime and pure means the song cover so much ground in the initial stages – it never loses identity or races away too quickly. The hero looks at life and confesses that things are falling apart at the seams. It seems things are not working out how they should. Rather than urgently project the words: each breath is considered and there is murmuration and mutterings among the stillness. The hero, perhaps his travels in Europe have opened his mind, gains a sense of distance and escape. I feel there was a need to detach from something and find some space. Whether he is referring to a heroine or lost love; one gleans a sense of detachment and loss. The romance might have turned and it seems she is never coming back – some words are barely audible or cohesive in the throes of harsh realisation.

Although the subject matter is tarnishing and sour – beauty and tenderness seem to wrap every word tightly. The performances are sublime and, following the rush and tingling of those vocals; we arrive at a stage where there is a lot more seriousness and focus. Witnessing the switch between layered vocals – female sounds coming to the fore and shining – the winding and contorting words of the hero are quite affecting and emotional. Before long; one gets another whiff of the vocal breeze and opening majesty. The song takes us to a warm and remote part where those heavenly voices close the eyes and get the mind working overtime. They pair with the hero who takes over the mantle and is trying to make sense of things. For his part, there are few words and lines to project – most of the song is built on that swell of vocals and the composition. You get crackles of electronic instruments and machine; suggestions of percussion and piano. That mix of genres and elements, in lesser hand, could have been a misjudged and regretful decision, As it stands; Always is a song that perfectly balances emotions, sounds and suggestions into something cohesive, stunning and endlessly nuanced. You will come back to the song down the line to experience new things and discover fresh insight. It is a song that hits you when you first listen but is too big and exciting to take it all in. Strings rise and seduce; the vocals are supreme and intense – there is something about the song that is unlike anything you will hear this year. With that in mind; I took it out for another spin to see what I missed first time out. What comes to mind are the layers and hidden side-alleys that escape you initially. It is a fantastic song and one that warrants more airplay and international acclaim. Artists that tackle something beautiful and entrancing often write a song boring and insubstantial. So much attention and work have gone into Always. It is a moment of music that has been crafted but retains naturalness and a sense of ease. That is a hard trick to pull off but one the Canadian band has done with a sense of ease. I hope they work with the musicians/singers we hear oh this track again. There is a connection and understanding that elevates the song and ensures it stays in your consciousness for a very long time. In a music industry where so few songs endure and inspire – credit to Raveen and what they have achieved here.

I will end things soon but, a bit late to the wonders of Raveen, it has been wonderful reviewing their album’s title-track. It is a song that is quite short but, in its brevity, manages to achieve so much. Over the past couple of months, the guys have played across Canada and been very busy indeed. Exploring new areas and gaining a lot of love from the road – that must give them confidence and the desire to keep recording. Now that the dust is settling and the record is out there; it is down the listeners to absorb it. If anything; the post-release portion of an album’s life can be quite unsure and nervy. That initial flourish of fascination passes and it is down to an artist to keep interest strong and consistent. The guys are hitting-up magazines and websites to ensure reviews keep coming in. That is an impressive attitude and a work ethic that stands them in good stead. I have listened to the album and can recommend it without any hesitation. All of the tracks fit together but no two sounds alike. What amazes me is how the band has developed since their earliest work. They are more confident and striking than they have ever been; bringing new players into various moments and at a very important stage in their life – where they are maturing and questioning life; tackling young-adulthood and questions. It has been a while since I have heard an artist impress me with their experimentation and originality. I guess, in terms of bigger acts…that would have to be Anna Meredith. I am not saying one can compare Always with an album like Varmints – her 2016-released record that amazed critics with its wide scope and accessibility. That is a dazzling album that mixes huge horns and pomp – Nautilus is a perfect opener – and more refined and calm songs. There is nothing ordinary and run-of-the-mill about it. It is a wonderful début that stunned critics upon its release. That is the same impression I get with Raveen.

Whilst their music is not as bombastic and varied as Meredith’s; there is something about the way they tackle sound and emotions that make their music endure and venture – it swims in the mind and makes its way to every part of the body. I am interesting seeing where the band goes from here and what they have planned. I am sure they want to spend the remainder of the year in Canada – keeping it a bit quiet and ensuring the album reaches as many people as possible. 2018 will be an exciting one for them and, I am certain, their most successful year to date. They have created something rich and impressive in Always – the title-track is a new direction for Raveen but one that pays off. It is wonderful seeing a band try something different and working with other people. That is not the case with every song on the album but works perfectly on its opening number. Let us end things here but, before then, a plea to the boys: I do hope you come to the U.K. soon and experience the music scene here. It is a packed and exciting one and one that could do, more now than ever, international blood. We are lacking a sense of worldliness and foreign appreciation. Canada has always provided the world incredible musicians: this is the case with the bright and incredible Raveen. Their début album is a thoroughly enjoyable and triumphant effort that is receiving a wide array of affectionate and passionate reviews. I can add my name to the list – the title-track is a perfect song for those who want something that goes a lot deeper than most music out there. If you want a song that tackles the heart and engages the mind; gets the blood running and the eyes wide – I think I have a band that…

HAS the answer.

_______

Follow Raveen

Twitter:

https://twitter.com/soraveen

Facebook:

https://www.facebook.com/thatssoraveen

Instagram:

https://www.instagram.com/raveenofficial/

YouTube:

https://www.youtube.com/channel/UCbPlMcuO-7Okj0_5k6GTPNQ

BandCamp:

https://raveen.bandcamp.com/

Spotify:

https://open.spotify.com/artist/0SaHHNB1nve0RkDl98jSMF

SoundCloud:

https://soundcloud.com/thatssoraveen

FEATURE: Living the Dream: An Initiative for All

FEATURE:

 

Living the Dream: 

 An Initiative for All

________

I am not sure whether the image above…

IN THIS PHOTO: The Manchester Arena

has any relevance to what I am saying – I like how striking it is but, in a way, it does link into what I am thinking. Right now, Manchester Arena is reopening after the horrific attack earlier in the year. Noel Gallagher is headlining and it will be an emotional concert. There will be nerves and doubts – security tightened to make it impossible another terrorist attack will happen – but there will be a lot of love, togetherness and uplift in the performances. One can only imagine the kind of electricity and physicality in the arena tonight. It will be talked about for years and a perfect reopening for a wonderful venue – one that was rocked and disturbed by one man’s callous and evil attempt to unsettle and shake our country. It did not work but, rather awfully, we have faced other terrorist attacks since then. It is becoming more frightening becoming a human being.

IN THIS PHOTO: The worker bee became a symbol for Manchester after the attack

One of my long-standing dreams has been to set up a charity movement, The Single Voice, that acts as a one-stop-portal that raises awareness, funds and support – based on a musical ethos and foundation. A lot has happened over the last few months that has made me more determined to get something together and rolling. Right now, islands have flattered and rendered uninhabitable by the fearsome and indiscriminate Hurricane Irma. It is bearing down on Florida and, let’s hope, it does not claim too many lives – the devastation it will wreak will be hard to recover from. Cuba has been hit and, even if it does go on its way in days to come, many will take years to come back and rebuild their lives. Dozens have perished in one of Mexico’s most-powerful earthquakes in the past day – it was also hit by the hurricane and has had to bear so much. We saw the awful right-wing atrocities in Charlottesville a while back and the calamity coming out of Virginia.

IN THIS PHOTO: Hurricane Irma

I have no solid business plan and forecast sheets right now: the sheer desire and impetus to unite all of music into a community with a common ideal. Social media is a tool that, when used effectively, can be incredibly powerful and influential. Too many of us use it for egotistical and shallow reasons. I, myself, am a little fixated with people-watching and idly spending time waiting for something to happen. The Single Voice would, essentially, be a commune of musicians and musical personnel – producers, D.J.s and creatives – that would help raise funds and awareness for those affected in society. I can throw superlatives to all the major events that have happened this year. All of them have left their mark and could be perceived to be the worst incidents we have seen.

IN THIS PHOTO: A potential Ambassador for The Single Voice, Björk

It is hard distinguishing between the terrorist attacks and natural disasters: whether political and social divisions are more scarring than physical devastation. What we do know is there is a hell of a lot of bad happening that is hard to contain. A charity/movement would not cure or eradicate any issues – instead, it would help profile and challenge issues that need addressing; use the power of music to fight against problems and evils in society. There is sexism and racism in the music industry that is not going anywhere right now. I am concerned these problems are not being addressed by people high up. I guess, in a way, The Single Voice is a dream or political movement. It is a way of creating a left-wing/left-of-centre force that has the same ideals as Labour but does not have to campaign and electioneer. I am concerned about the environment and the way peoples are being ravaged by global warming. I hate the right-wing movements and racism in wider society. Many, myself included, cannot stand the regime of Donald Trump and the way he is ruling America. Here, we have the threat of terrorism but there are so many splits and cracks in our fabric. The NHS is in peril and desperately requires finance and government support.

IN THIS PHOTO: The devastation caused by Hurricane Irma in Florida

Millions in the nation suffer depression and anxiety – many have to wait days/months to see a doctor and get adequate support. The human cost of lacking resources is seeing people take their own lives. There is gender inequality and sexism that sees women overlooked for managerial positions and denied the same opportunities as men – that is especially true in music, where there are far fewer women in top positions. What I propose would be creating two bases for The Single Voice. One would be based in London: the other over in New York. It means the two biggest music nations of Earth have an office in their territory. I want various ambassadors to represent The Single Voice and take its messages wherever they go. I would set up a website that acts like social media. One would register and sign in and be able to take part. Before I come to new developments; I will quote from an article I wrote a couple of years back:

How it Raises Money

The campaign is designed to bring together YouTube, Google, Apple and Microsoft: some of the most influential and important companies on the planet. I will go into more depth below but the way the user raises funds is through YouTube ‘views’: every time someone views a video you have uploaded; 10p is donated to your chosen charity.  YouTube is the ‘hosting site’: it is their website that is the basis of the campaign. Google will be the ones who are donating the money. Each user/member -who chooses to take part - will register on the main site (see below) and through advertising and increased search results, Google will gain revenue- which in turn will be donated into The Single Voice. Companies like Google and Apple generate enormous profits each year; they do great work but have a lot of profit coming in. Finding a legal and non-invasive way for them to generate more funds- by advertising and getting more ‘business’- would allow them to channel this money into the campaign.

IN THIS PHOTO: Googles profit/revenue from 2015

The Main Site

The initiative will have a homepage: which will be where each person goes to register. The campaign will be shared and spread to social media, but at the first point of contact, each person would start here.  Like Facebook and Twitter, registration is painless and quick: and a great way to connect with other users and like-minded people. The homepage will be well-designed and eye-catching. The top half will have various links: A-Z of Charities; Contact Details; Discussion Board; Events/Fundraisers; Latest Members; Links; Generated Profit so far.  The bottom half will be fun and interactive. Figures from music, film, T.V. and comedy past and present interacting with one another - they will be animated.

Registering

Each person will be asked to register simple details: name, D.O.B., location; campaigns; total raised and several others.  It will work a little like Facebook, where there is a profile page: it will be a simple process and contain plenty of information - although nothing too personal or revealing. From the registration page, there are links to social media - where you can easily promote your page/share your success.  When all the personal details/key details are entered, then comes the ‘fun part’. The Single Voice has the option of 8 different YouTube-based ‘initiatives’/ideas. Each new member is allowed to ‘sign-up’/choose five of the eight options.  For each initiative you will be selecting a different charity - I will go into more depth later. On the profile page will be your list of ‘initiatives’.  By each of your selections will be the total money you have raised; how many times your idea/entry has been shared- and how many times you have shared it. This charity campaign will run for a year- from its launch date- and your selected charities will get donations each month- at the end of each month; however much you have raised will be donated to them.

PHOTO CREDIT: Unsplash

Top-10 Songs

Like Desert Island Discs and Tracks of My Years, each user gets to choose their 10 favourite/most important songs.  There is an option- on each entry- for a user to commentate/explain why they have chosen what they have selected, but it is a great chance for the person to share their favourite songs.

New Music

This is an option that is a chance for new music to be heard.  A person can give the world a chance to discover new music/musicians.  If a new band/act has posted to YouTube, then their music can be shared.  There is a chance to select your ten favourite songs from new acts.

Music Videos

It is nice and simple: choose your favourite ten music videos.  Whether it is from a new band- or classic act- you get a chance to have a good think- what you consider to be the best of the breed.

Top-10…

The broadest option, this covers a multitude of music.  On this option there is a drop-down list: giving you a selection of options.  Includes is Decades- best music from ‘50s, ‘60s- all way to modern-day; Voices; Cover Versions; Guitar Riffs- up to 10 different selections.

Comedy

Whether it is a short clip- lasting a few seconds- or a full-length film/T.V. episode, this is comedy-orientated.  Whatever makes you laugh the most: get it uploaded!  I shall expand on this more- and what I would select- but you can choose a stand-up show; an episode of The Simpsons- or a comedic home-made video/prank.

Drama/film

Again, whether it is an episode of Breaking Bad- if they are allowed on YouTube- or a short film, this is the chance to get it shared.

PHOTO CREDIT: Unsplash

Beyond Social Media

Of course, the point of the campaign is not to share music/film- just for the sake of it.  The idea is to raise money and awareness of causes and charities.  On the home page, you get a chance to share your ideas and videos- and raise money each time they get a ‘view.  When you select a charity- for each entry- there is an information button: this gives you huge information and links.  If you select Diabetes U.K., then you get to find out about the charity.  There are links to their website; how to get involved in the community; how to spot the signs of diabetes; ways to further becoming involved with the charity- runs, fundraisers, volunteering etc.  This will be the case for every charity.  It means that, not only does the user get to learn more about their chosen charities and causes; other people do too.  On the site’s main page, there is an A-Z of Charities: a full list of all charities; information, links and videos for each.

PHOTO CREDIT: Unsplash

In addition engaging people more with charities and causes; there is a hope it will lead to more community involvement.  There is a chance to ‘represent’/choose to support women’s rights, stamp out gun violence, support local communities and boroughs- causes not usually represented by the big fundraisers.  In addition to giving information about each, there are ways for you to get involved: get out onto the street and make a difference.  Raising money will be a huge and important part of the idea, but it is hoped that the government will take note- issues and campaigns will be highlighted; a chance to change law- change people’s lives and initiate social change.

Not only does one get to learn more about charities and causes- the main objective of the campaign- there is a secondary bonus’.  Each time you compile a list; there is a chance to benefit others.  Say you have selected Top 10 Songs.  After you have selected each track, there will be a link on each video/selection.  Song and album information is provided; links to other similar acts; ways to record your own music/become a musician.  In terms of new music, there is a chance to help new musicians- links to campaigns; ways to share their music and causes; find great new acts; support local venues and festivals- ways to bring about equality and change for musicians.  The same goes for film and music videos: ways to become a director/actor; local schools and campaigns; links to similar films/videos; local schemes; ways to support other charities and causes etc.

Going Forward

At the moment there is the idea and determination: without contracts being signed; sites being designed- the big guns being involved.  Of course, it is not going to be as simple as it should be- celebrities and huge companies are as apathetic as they come- so will take a lot of effort and campaigning.  The point of this blog/the early stages is to gauge opinion: would people take part?  Would it interest people?  Could this work?  For each entry people select from the list you have to donate a small sum yourself- rather than relying on others- but this should not put people off- it is a chance to engage and unite social media; represent all charities; try to make some genuine change.  The rest of this year- in terms of this campaign- will be to get people talking; get names involved- contact YouTube and Google- and get them saying ‘yes’.  I want to launch this within a year- it sounds a long way off but will take a lot of work.  Above all, it will rely on people getting involved: I want it to be a lot bigger than the Ice Bucket Challenge.  It is a golden opportunity to raise millions and more for a lot of causes; raise awareness of various issues- get people involved- on the street; in the community etc.

The Website

Home page:

www.thesinglevoice.com

The bottom half would be interactive and animated: music figures would interact in a variety of locations: from Abbey Road to Reading Festival; to a recording studio and around London.  There would be music and video player that can be accessed- linked to YouTube, SoundCloud etc. – and the locations would be around the world.  The entire homepage is designed like a vinyl and has a record design; the front would be the animated figures and site name- the back would be the options and information; opening like a vinyl sleeve.

PHOTO CREDIT: Pixabay

Menu/'Track-Listing’

There would be eleven different options; each would expand/open like a song.  The options/’tracks’ are as follows:

SIDE ONE:

1.       Track One: Register

The user would sign-up-like a social media site- and be able to have full access to the site.

2.       Track Two: About/Contact; Guided Tour

3.       Track Three: A-Z of Charities and How You Can Support Them

A list of every charity around the world- from local causes to international names- that you can raise money for

4.       Track Four: Social Media

A bespoke social media site that the emphasis on charity and music: the connection between the two and engaging users to become more involved in the community.

IN THIS PHOTO: The hope is to turn platforms like Facebook into a more coniencious and less egotistic platform/PHOTO CREDIT: John Holcroft

5.       Track Five: Creative Zone

This would pull together everything within Psychoacoustics:

This will be expanded, too.  Not only will there be a spoke music zone; there will be a similar ‘creative one’ for directors- film, T.V. and music video- and actors; in addition, there would be one for comedians, comedy writers and YouTube stars

6.       Track Six: This Year’s Initiative

The Single Voice initiative detailed at the top of this post.  This would launch the charity

PHOTO CREDIT: Pixabay

SIDE TWO:

7.       Track Seven: Local; Sites, Music and Points of Interest.

It would allow you to programme your town/city.  If you lived in London for instance, you would be able to find all charities in your area; the music sites and venues- in addition to points of interest.  It would work with Google to create a bespoke search engine that would allow the user to be productive and engaged in the community.

8.       Track Eight: Connected: Tools for Musicians, Fans, Lovers and Labels; Writers to Charities and Organisations

This is a list of contacts and websites; connections and tools that allow charities to connect with musicians and the public; creatives to link-up with the right people- essentially, a LinkedIn-style site.

9.       Track Nine: Listening Zone: Video and Media Player

Here, we have a huge library of music and video.  Bonding with YouTube, there is a defined and organised library of music, film and T.V.: One that is broken-down into sections and genres; decades and time periods- allowing listeners to discover new music and film.

PHOTO CREDIT: Unsplash

10.   Track Ten: Psychoacoustics

This is the bespoke shopping site- working with the likes of Apple, Amazon and Samsung- that would not only sell music, D.V.D.s and vinyl; it would sell apps. And subscriptions; instruments and tickets- all under the one site.

11.   Track Eleven: Search/Archives

This allows the user to search through the music; film, T.V. archives: discover lost gems and album covers; information and interviews etc.

Fundraising

There are so many great charities and people raising money every day.  Through social media and life, we see posts of people competing events: Running, walking and enduring for charity; doing something amazing.  One of the issues is that social media relies on sharing- in order to increase fundraising and awareness- a lot of time people can’t afford to donate a lot.  By engaging big businesses- see below- and utiilsing music and the creative arts; it allows for bigger fundraising; tying charities and people together- from all around the world.  The website lists all charities in the world; those that are both local and international.  The charity aims to proffer and promote all charities; put them under one umbrella- unite social media and posts to ensure that greater awareness is raised.  When users sign to the charity- and create an account- they can download music and support artists; discover great music and help musicians- earning points and rewards as they go along.  When they reach certain targets, they can cash-in these points; donate them to causes- the ability to raise thousands of pounds in a very short space.   It is not just reserved to charities and causes, either.  There is an opportunity to raise funds and money for bands and artists.  The artists themselves cannot raise funds, yet others can donate to bands and their recordings; filmmakers and projects- tying-in the likes of Pledge Music and Kickstarter.

Creativity

The charity/fundraising elements will all come together in more detail- as the charity is set-up and developed; the full details and plans will be explained- but there is another element to the charity.  Through the bespoke tools and links, it encourages users and people to take up and create music; become engaged in filmmaking and television- this is where the likes of Microsoft, Samsung and Apple will come into the fold.  The companies would not only assist with designing the bespoke tools and sites; they would gain revenue and profit: In turn, they would be funding some of the world’s most innovative and well-designed music/creative tools.

PHOTO CREDIT: Unsplash

Awareness

One of The Single Voice’s assets is the way it connects people around the world.  The charity looks at the user and tailors it around them.  If you suffer from an illness or disease, it not only puts you in touch with those who can help- giving information and advice; making sure the social media side of things gets people connected.  Every day we hear of new ills and issues- from gun violence to discrimination against transgenderism; animal cruelty and natural disasters- yet we feel helpless.  The charity puts these issues at the forefront: It mobilises people to tackle the issues; gets people working to fight discrimination- raise money and support quick, so we can stamp out these inequities and problems.  Issues like mental illness or still stigmatised; homelessness and social poverty is rife.  The charity aims to put them into the spotlight: Change ways of thinking and help bring about progression and discussion.

How Big Businesses Can Help

The biggest tech and business giants make enormous profits.  Every second it is estimated Samsung makes $6,000 revenue.  The likes of Google and Apple are not far off.  Of course this is earned and deserved to an extent- they provide services we all need and use- yet think about how much they earn a year?  I have seen reports where some of those companies are unsure what to do: They have so much money but nowhere to put it.  Whilst they are developing multi-million dollar headquarters and facilities; it seems there is a lot of money that could be better used- a tiny amount of their yearly profit.  This is why The Single Voice is so important to me.  It is not a Robin Hood Effect- taking from rich and giving to the poor- as each company will be earning extra revenue/partnering with the charity: It is taking a tiny percentage of their revenue; giving it to some wonderful causes/charities- helping to fit big issues and social ills.  With such extravagant and unfathomable profits pouring in; there needs to be a better and fairer balance: Ensuring the organisations are charity-conscious as they can be.  I am not suggesting they hand over, say 1%, of their profits a year: They are getting increased advertising and business; they will see their custom rise- it is a win-win, give-and-take situation.  As it stands, the charity that is an idea and a seed: It needs the investing waters of businesses to get it off the line- and to nourish and help it grow.  Without them it will take a long time to happen: It is advantageous a working bond is created as soon as possible.  There is no real downside to either: The big companies- such as Apple and Microsoft- rarely work closely together; there is a sense of rivalry and competiveness- this is a way of bringing them together- without denting their business profits and market edges.

The Bottom Line

This is a charity I feel needs to happen: With every passing day there seems to be bigger gaps- between people and countries- big topics that are being hidden- too many people suffering silently.  Money-raising is only part of the solution: Awareness and social activation needs to occur; governments and bodies need to be on board- it will take time to happen.  The first step is seeing what people think; getting it going- getting those big names on board.  There is more and more music created each day; most people on the planet love/have an opinion on music- using this to make money and help people seems icily logical and sensible.  There is a lot of big business profits coming out; a lot of compartmentalisation and social disconnectedness: Unifying and remedying this would counteract these points. 

IN THIS PHOTO: Jameela Jamil who, I feel, would be a perfect Ambassador

I am in the process of mailing companies- the likes of Samsung, Google, Apple etc.- and some big names- I hope the likes of Emilia Clarke, Jameela Jamil and Stephen Fry will back the charity- to get this thing going. Whilst there are a lot of words here (even for me!) the facts are this: Music and the arts is an easy and fun way of fundraising; we all need a little help and awareness; too many people are suffering needlessly- we all want this to change.  The Single Voice is not so much its own charity- raising for one specific cause- but a way of housing and promoting every charity there is- whilst encouraging creativity and social interaction; tackling issues our government is not.  In a way, it is a political party we can all get on board with - no false promises and crooked smiles- just a charity we can all support.

IN THIS PHOTO: Stephen Fry; another ideal candidate to support the charity

I hope my writing and grammar/punctuation has improved since then but I wanted to reinvestigate an update a concept I have shown to a few celebrities. Jameela Jamil, when I wrote to her, liked the idea – as did Stephen Fry. I want a lot of musicians to lend themselves to ambassadorial roles (including Björk) and ensure there is a constant sense of reaction and engagement. The charity/movement would incorporate all the concerns I laid out at the top: it would integrate the original premise/pitch and would widen the scope of ambassadors and functionality. The website would raise money but get people talking and issues highlighted.

PHOTO CREDIT: Unsplash

Musicians would perform around the world and films made – a chance to expand beyond music and get creatives involved. It may sound jumbled by the same passion exists in me – my sight and intensity have not waned in the past two years. The initiatives and components of the website might change but there is that intrinsic desire to create an all-for-one, common-voice for the masses that have no political barriers and divisions. It is a need to change things in the world and bring us all together. I am unhappy with the separation and fear that permeates every issue of every society. I am not saying The Single Voice is going to radically improve the world but it is a chance for each person that wants to see change, through music and the creative arts, to have their say and…

PHOTO CREDIT: Unsplash

HELP make a real difference.

FEATURE: Music Videos and the Art of Expression

FEATURE:

IN THIS PHOTO: The heroine in the video for Beck's Up All Night 

 Music Videos and the Art of Expression

________

THIS sounds like a rather grand title for something...

IN THIS PHOTO: Jay-Z who, in his video for The Story of O.J., created one of the most talked-about videos of this year

that is, in essence, a look at music videos and their importance in the current market. The music video has always been a pivotal and interlinked part of the marketing process. I have been watching videos on YouTube and unfortunately, as one is suspect to, there have been annoying promotional adverts (by Vevo) where various no-name artists talk about their music – and how important videos are to them. It made me wonder how modern artists use music videos and whether they see them as promotional tools – or they are a chance for creative expression and the chance to make something extraordinary. Newer artists don’t get the same chance/budget to film a video of epic scope and concept. Those kinds of dreams are reserved to the elite and wealthy of the mainstream. I do wonder if videos are a part of the process many stars feel weariness towards.

We have all seen recent videos by Taylor Swift, for example, absorb enormous numbers on YouTube. Her single, Look What You Made Me Do, was much-anticipated and, although it is not up to her best days, its build-up, fall-out and video put the song under the microscope. The video is full of symbolism and there are a lot of ‘what-ifs’ and ‘who-is-that-about’ visuals. It is a piece that, whilst hardly a visual feast, provoked a lot of interpretations and possibilities. I am surprised the video got as many views as it did. The views are into the hundreds-of-millions and it has been a huge triumph. I know YouTube videos that have surpassed two-billion and that is a rather eye-watering thing to behold. Swift’s recent video is as much about the existing fanbase and gap since her last release. If one looks at the quality and memorability of the video – you are not going to be talking about scene and shots days after seeing it. Returning to the Vevo/YouTube promotions and those artists – their names escape me! – chatted about how videos, to them, is about personalisation and bespoke films. It allows them a chance to express themselves and connect with their fans.

PHOTO CREDIT: Unsplash

In my mind, the music video is as important now as it ever was. The days of MTV have gone – or when it was considered ground-breaking and the go-to show for artists – as music T.V. does not have the same cachet and sheen as past years. I have written pieces about sexual exploitation and whether videos are being used to flaunt sexuality in order to get an artist trending. There is cynicism with a lot of videos that means they are used as weapons to utilise sexuality and feminism to shift units and get an artist into focus. That might sound cynical but there are those who freely admit it. To me, the most powerful and worthy videos fall into two camps. There are those that promote feminism and positive sexualisation – artists who display sexual freedom and promote a powerful and inspiring message. The other relates to the sheer memorability of a video. Whether it is funny or complicated: plainly simple or possessed of a U.S.P. – those are the videos that ensure through the years.

I fear those artists I saw on YouTube are no in the mind because their videos are quite generic and formulaic. One of the videos that has really stuck in the mind the past few weeks is Beck’s Up All Night. It follows an armoured heroine who drives in a modified Batmobile-type car as a ‘party vigilante’: scolding those who exploit passed-out revellers and try to take advantage. Her stern gaze repeals the worst high-jinx and her metallic clothing magnetically sucks keys and phones to her bodies – so people do not make foolish, ill-judged calls or drive home when well over the limit. It is a brilliant and simple concept that provides wonderfully rich scenes, comedy, pathos and filmic ingenuity – it could be made into a short-film, one feels. It is a brilliant video that matches the song’s lyrics and sticks in the mind long after it has finished. Other great videos this year are from Lana Del Rey and Kendrick Lamar.

The former, for Love, sees Del Rey singing as images are projected onto the screen. Kids get into cars, getting dressed and smiling. There are attractive beach-dwellers in sunglasses and a 1950s’-type family driving. It is a mix of nostalgic and modern that is another luscious and image-rich video. Kendrick Lamar’s HUMBLE. It is rife with symbolism and viral-worthy moments – the golf swing and burning heads; the re-enactment of The Last Supper and epic church scenes. It relies on a big budget and a lot of creative license. Few artists have the pockets and teams to be able to realise a video as stunning and ambitious as HUMBLE. Appropriately ironic in its posturing and scale: a fantastic video that will not escape the brain anytime soon. An history of music videos shows you one does not need a big budget to get into the consciousness. It is interesting arguing whether that is the case now. As much as I love underground artists and their music: the more money one has; the greater the opportunities when it comes to videos. A couple more mainstream videos have really resounded and resonated this year. Lorde brought the long-awaited Green Light earlier in the year. There was so much fever and build around that song.

The video arrived and instantly made an impact. It is not as grand in concept – compared with Kendrick Lamar – but it relies on a sense of triumph and confident imagery. The heroine barely smiles throughout but, whether skipping the street or hanging out of a car window – she is commanding, compelling and completely free. Haim’s Right Now saw its video directed by the legendary Paul Thomas Anderson. It sees the girls in the studio as they call up their mum's old student as he comes by and says "Why don't I just record a video right now?". Anderson shot the video in a single take – or near-as-dammit – and captures the girls perfectly. Their parts and performances are given gorgeous treatment as we get a glimpse into the recording process – based on a wonderful premise and backstory.

Kesha’s Praying, like Taylor Swift's video, gained a lot of success because of its sense of reaction and build. Following the court case with Dr. Luke and the attention that case gained; it was inevitable a video whose song addresses the turmoil and torment Kesha went through – it was always going to be huge and get into the forefront. Regardless of whether an artist has a big reputation or budget: a great video can arrive from any direction. The ones I have mentioned – aside from Kesha and Swift, perhaps – have succeeded because of their concepts and creativity. It shows even the bigger artists are not ignoring the importance of videos and making a statement. One can argue the fact these videos got big is because of the millions that support the artists. I am not interested in popularity and streaming figures – more the quality and role videos play in these times. Charli XCX’s Boys saw, um…boys doing various things.

These were no ordinary boys: these were big celebrities in rare and unfamiliar settings. Showing Pop music can have a sense of fun and playfulness – we see Joe Jonas with a milk moustache; Stormzy eating cereal and Mac DeMarco licking a guitar (as one does). It has sexy images and comedic moments; a lovable and fun-loving charm that subverted expectations one would have had. Rather than cavort with boys and create a sexual and sweaty video: Charli XCX went for something more creative, intelligent and wise. It got huge figures but, more than that, showed one does not need to sell videos through sex and easy routes - big artists do not need to have enormous concepts and budgets to make a celebrated video.

IN THIS PHOTO: A shot from the video for Charli XCX's Boys

There are so many great videos from underground artists – it would be a Herculean feat naming them and finding the best. To mainstream artists; they always need to make a video in order to make their songs more visible – it is part of the marketing route and one cannot release a song without making a video (unless you want it to pass people by). I am always against those videos that go for the sex angle: artists exploiting their assets to get the YouTube roof bursting. It is rather cheap and raises questions about morality and ethics. I wonder whether artists like Taylor Swift, in a video so symbol-heavy, has the right approach. If one wants an innocent and stunningly unexpected video this year go to Jay-Z’s The Story of O.J. I feel Swift could have learned something from that video – it is a Disney-esque/Mickey Mouse animation that adds new spin and angles to a fascinating artist. Look What You Made Me Do is all about symbols, controversy and enigmas.

Nobody remembered the storyline (if there was one) and it seems like the exercise was a chance to get people speculating and gossiping. I admire those big artists that do something inspiring and important with a video. Those who want to connect with fans and promote something positive should be applauded. Regardless of how much money their teams have: something simple and honest can do a lot more than a multi-million-dollar visual extravaganza. It is wonderful seeing a blend of Kendrick Lamar grandeur and a more modest Jay-Z film. We do not leer MTV and tune in for the big video of the week. We have sites like YouTube so are less reliant on T.V. for providing visuals in music. I wonder whether the sheer volume of music videos out there makes it harder to decipher the best – there are so many treasures waiting to be discovered.

This applies more to the newer artists who have a choice regarding music videos: they do not need to release one and it can often cost too much to even consider. I sympathise with them and hope, one day, more money is reserved for new artists who want to release a video. Most make do with a modest budget but you can get some really incredible examples coming through. They do not get the same views and attention as the mainstream stars but, in many ways, finer work is being created in the underground. Videos are a massively important way of showcasing an artist and allowing them license to create something magic. I would love to see a music channel – on YouTube or elsewhere – reserved for new artists and their videos. Every time I do a review/interview, and there is a video attached, I am amazed by the dexterity, resourcefulness and imagination of our best artists.

Many only have a few-hundred-quid and have to stretch that budget to a number of different people. It is getting easier and easier to stream a video but harder to get them made in the first place. Many yearn to have the same opportunity as the mainstream artists. All the acts I feature love videos and that chance to add a visual dynamic to their art. Many people write songs a certain way because they imagine a video in their head. One cannot write a song without imagining it and seeing how it will come to life. Even if you are a newcomer and on your first album; there is still the chance to do something incredible and striking. I will leave this piece and, as this year has (already) seen so many senses-striking videos – from the big and humble – it shows how much importance is placed on that side of the industry.

PHOTO CREDIT: Unsplash

Whether you see videos as a way of cynically marketing and engaging in popularity contests – one cannot deny how inspiring a wonderful video can be. I know the best of the underground can, with the right backing, conceive and create videos that endure for years to come. I think there is a division in the mainstream between those who are unconcerned with trending – and release videos that are there to amaze and compel – and those more concerned with grabbing headlines. That is always going to be the way but, whatever the motives, the video is as important (if not, more so) than it has ever been. I feel, although they don’t need to, many new artists realise how important platforms like YouTube are. Journalists and fans are attracted to songs because of videos, to a large extent.

I love to see a video as it embodies the story and emotions of the song – allowing the listener to appreciate the song in a new light. Because of this; I hope more subsidy and expenditure goes the way of new music. Anyone who questions whether videos have validity or worth should look at the incredible array out there right now. In a lot of cases; a video can be more memorable and celebrated than the song it accompanies. I love the medium and think, if new artists had the ability to make more ambitious videos, they would ascend to the mainstream a lot quicker. Whether it is a reactionary video or one loaded with symbolism; a comedic piece or one that engages the brain; one cannot deny the music video…

PLAYS a vital role in the music industry.

FEATURE: F*ck That! Is Censorship in Music Completely Necessary?

FEATURE:

 

F*ck That! 

 Is Censorship in Music Completely Necessary?

________

MY enjoyment of music is being sullied…

by this generation’s fear of anything honest and direct. It may seem odd to condone all censorship in music but I feel we are being too rigid and puritanical. Everyone today has exposure to bad language and controversy. The world is consensual and unfiltered. There is no way to shield the ears and imagination of those young and vulnerable. I understand why some songs need editing: homophobic and racist language, often heard in Hip-Hop, should not be allowed through the airwaves. There is a thin line between offensive and rude. There should be reasoned debate because, in order to get on the radio, so many artists either can anything mildly offensive – fearing mainstream radio will filter their songs out or edit them to the point of mutilation. That is how it sounds when music is edited so strongly: you get lots of gaps and it takes away the flow and reality of the piece. As I said; I can see reason and logic when it comes to offense. I am a big fan of Hip-Hop and Rap but know a lot of its artists (not all of them) perpetuate sexist ideals that seem natural to the culture – woven into the fabric of the genre so its artists are desensitised and immune to its toxicity. I wrote a piece about Eminem a couple of months ago in relation to his phenomenal record, The Marshall Mathers LP.

IN THIS PHOTO: Eminem (photographed in 2000)

The album received incredible praise upon its release back in 2000. One of the reasons some critics were left sour by the record was because of its misogynistic, homophobic and provocative language. One can argue Eminem is an artist imbued with enough genius and purpose – one should not sweat the odd off-the-cuff remark or acidic moment. The fact of the matter with the album is this: it is rife with offense, explicitness and vile. I am a huge fan of the album but do feel the homophobic nature of the songs – not all of them but many – does not represent who Marshall Mathers III is and what he talks about in his personal life. The same can be said regarding violence towards women and the misogyny one hears in many numbers – a man who is not prone to domestic violence and anything like that. Eminem is, as we hear in interviews, quite modest, shy and loveable. One hears no malice and he is an artist, one imagines, loosens morals to shock and get people reacting – rather than believing what he puts on the page.

PHOTO CREDIT: Unsplash

The same way the troublemakers at school would rebel and create conflict: they are doing it for show and to get noticed; take them away from that environment and they are very different people. I can do not defend or condone the contents of the album – when it comes to racism, sexism and homophobia. The fact The Marshall Mathers LP is a fantastically intelligent and accomplished work is a testament to the phenomenal wordplay and commanding performances throughout. How does one reconcile and adjudicate the debate between talent and controversy?! I love the album (and Eminem) but feel he is someone who walks a dangerous line between off-putting and encapsulating. Recently, after his performances at Leeds and Reading; he whipped the crowd up in an anti-Trump shout – getting them to flip off the President; Eminem used his set to tirade against Trump and his governance. That, to me, is a good use of language and offense – rebelling and protesting against tyranny and allowing that crudeness to articulate an aggression and anger that straight, more refined language cannot articulate. I use Eminem as an example as his songs, as you’d expect, are heavily redacted – few manage to get regular play on the airwaves.

PHOTO CREDIT: John Gress/Getty Images

I do worry we are being over-protective and hysterical when it comes to artists. Any slightly mild language gets edited and erased: even the merest suggestion of a bad word get cut before you hear it. In spite of that; there are plenty of songs that are sexually suggestive and lurid. Why do we feel it is okay to allow sexual language and intimations to slip through?! Is swearing a lot worse than talking about sex and chasing girls/boys? People do not sit down and discuss what is classed as genuinely unacceptable – or that which is deemed offensive to a small sector. I find no rationale for including any racist or homophobic language in ANY song. I understand, in some ways, racist language is part of certain genres. Is it okay for a black artist to use the N-word? Is it okay for a radio station to broadcast it? Those are different debates: I agree with the first statement (to an extent) but disagree with the latter.

It is a lot more acceptable for a black artist to use the N-word than other person but does that mean we should allow them to get onto radio unedited – and white artists, who use the same word, being censored?! If a gay artist used homophobic language than we would not allow that to make its way onto the airwaves – there cannot be any exceptions and loopholes in these areas. We are a modern and progressive society and feel we should not be so rigid when it comes to language. I get fed up hearing so many songs with pauses in them. A lot of times word like ‘crap’ are removed – if we have a scale and gradation of explicit language; where does ‘crap’ fall on the scale? Radio can be heard by anyone at any time. We can pick up albums with explicit content and play them to anyone. There are no age-limits when it comes to selling C.D.s – or, people are not enforcing them if there is. We can sell a Hip-Hop album to a child and they can experience a torrid of foul language and terrible messages.

Why, then, do we allow the same songs no freedom when they are on the radio – a platform where the same child can listen to the same song; only without all the language and explicitness they heard before. I was reading an article about Hip-Hop/Rap and artists re-recording songs so they are deemed radio-friendly and safe. Looking at the piece and some interesting points emerge:

“LISTENING to rap radio is often like reading a declassified government document in which thick black lines obscure the most tantalizing parts. Except that instead of black marker, rap singles are doctored for the public with sound-effects CD's. Gunshots, sirens, car screeches, turntable scratching and lyrics played backward conceal words deemed dirty, derogatory or harmful to minors. Some songs, especially ones with obscene words as their chorus, become so bowdlerized that their meaning is no longer even fathomable on the radio.

But recently, certain rappers have made it their duty to go back into the studio and rap extensive new lyrics to a song being considered for airplay. In one extreme example, Eminem takes ''My Fault,'' a song about fatally overdosing a girl with psychedelic mushrooms, and makes it PG by rapping instead about how he slipped normal, everyday mushrooms onto his friend's pizza, triggering an allergic reaction.

PHOTO CREDIT: Unsplash

Typically, the notion of artists changing their music to please the prudish and commercial elements of society is odious to critics, but in the case of several recent singles, the editing has actually improved the song. In a pop landscape in which the crude come-on has replaced the sly innuendo, some remakes are bringing a touch of subtlety back to urban music”.

That piece was written in 2000 – the same time Eminem was alienating a lot of media types with his album The Marshall Mathers LP – and one wonders whether things have got any better? More recently, in 2014, another piece added a new dimension:

“Music censorship has a long history. As early as 1940 George Formby had his song “When I’m Cleaning Windows” banned due to its alleged smutty lyrics!!! The Sex Pistols infamous Jubilee punk anthem ‘God Save The Queen’ suffered a similar fate, and one of my favourite anarcho-punk bands Crass, had to suffer the indignity of a record pressing plant refusing to press  the song, "Reality Asylum", accusing Crass of blasphemy. Instead, they had on the record a blank space with silence in its place, which Crass humorously dubbed "The sound of Free Speech" in protest.

More recently fewer songs are getting outright bans, however the BBC, and similarly the USA radio network Clear Channel, also deemed some songs inappropriate for airplay during the Gulf War such as “War” by Edwin Starr, “Give Peace A Chance” by the Plastic Ono Band and “(I Just) Died in Your Arms” by the Cutting Crew-which in my humble opinion should be banned outright for just being plain awful.

 IN THIS PHOTO: Sex Pistols

However the ‘alteration’ of lyrical content to enable airplay, or ‘radio edit’ versions is becoming more commonplace as artists strive to express themselves more freely whilst their record labels try to maximise airplay by remaining within broadcasting guidelines. Of course with the availability of music online, either as downloads or streams, censorship is now losing some of its bite as listeners are freely able to source ‘explicit’ versions of popular songs”.

It is interesting posing a straight question: Should we allow censorship in music? Many would say we shouldn’t: everyone has a choice to listen to what music they want and do not have to subject themselves to anything distasteful and ‘adult’. I mentioned how we, in the streets and homes, are open and free to swear and say what we like. How is that kind of permissiveness fine and healthy for a child, for instance?!

PHOTO CREDIT: William Matthews Photography

Many parents swear around their children and take them through streets where one might hear awful expressions, violence and sex – that might be a rough area but one can see some rather risqué and sworded sight if you are on certain streets at a particular time. Do we wrap children in cotton wool and shield their eyes and ears?! No, of course not, as that is ridiculous nannying and hysteria. The government is busy doing that so it should not be down to broadcasters to deem what is acceptable. I listen to BBC Radio 6 Music daily and find a lot of new songs are censored really heavily. Artists, in a bid to be accepted, popular and radio-worthy are dumbing—up their music and carefully picking their words – so their song can remain virginal and unspoiled when it gets to a D.J. I do get annoyed hearing a song with many gaps. You know that is their way of bleeping the swearing out but I know what the words are! We all know what is being said so what is the point of removing them?!

I think we have become less hysterical and overreacting when it comes to censorship. I remember a time when a ‘Weird Al’ Yankovic song was edited/banned on MTV because it name-checked banned streaming/downloading platforms. Sex Pistols and other Punk bands of the time were barred because of their anti-establishment rhetoric. More recently, artists have been censored because of the rather mild language on their albums. The braggadocio and womanising rituals one hears spat and boasted by many male Hip-Hop stars, apparently, is more acceptable than someone saying the S-word a few times.

PHOTO CREDIT: Juneberg Weddings

I agree we should have barriers to prevent homophobia and racism reaching people’s ears but, actually, that is only for radio consumption. One can never (nor should) tell an artist what they can say and how far they can push themselves. If we start limiting expression and speech we are impinging a human right. By the same token; one should not indulge hatred and vile sentiments. That might seem like a contradictory standpoint but, when it comes to radio-play, I agree listeners of a younger disposition should not be vulnerable to that kind of extreme language. Play those songs later in the day but why do we need to be so strict when it comes to language?! A lot of artists, knowing sexual expression and innuendo is less immune to censorship than bad language, are upping that side of things in a bid to express themselves through sex – that bad language manifests itself in something a lot more controversial. It is good to see artists reacting this way and finding ways to circumvent censors. Should we arrive at a time when the big acts have to do this I wonder? There should be no limits or boundaries for artists at all. If they do release a song/album that causes controversy then that is on their own head. Eminem, in 2000, was a subject of derision and accusation.

Many saw him as the worst kind of musician; a villain who was trying to corrupt the impressionable. He was, in actuality, verbalising cultural and pre-existing traditions countless artists projected before him. The fact his celebrity was on the rise was the reason he was targeted and criminalised. Hip-Hop artists are those recidivist characters who say exactly what they want to. They should be allowed to write about anything but people do not have to love certain aspects of their music – homophobia is something that needs eradicating. There is a school of thought that argues those who hear artists swear, use disparaging expression and perpetrate causal sexism are setting bad examples. Everyone has their own mind and should not be guarded and monitored. There are worse things in the world and if we castigate musicians for expressing themselves it damages the threads of music and undermines its power. Music is an immense platform that can bring about change and inspire generations. Part of that is the freedom to say what you should and put a bit of spice into the music. If artists can talk about sex and violence; if they can brag about shootings and blaspheme – why is swearing the enemy of the radio bastions?!

I should end this argument soon but think a lot of the problem lies in other areas of the industry. Consider T.V. and film, for example. Swearing is a lot less rigidly policed than sex, for example. There is nothing offensive about sex but it is seen as more corrupting and provocative than bad language. I watch sex scenes that see the parties disrobe slightly and, someone, have sex in underwear and layers of bedding. They usually get through with things in a matter of seconds without any nipples, genitalia or organismic moaning being revealed to the audience. Even if there is a suggestion people are naked and fully committed – when you see them in the morning, they are either clothed (or underwear, at least) or wrap themselves in sheets! How unrealistic and stupid is that?! There are a lot of syndicated shows, even The Simpsons, where a minor bit of swearing or explicitness if cut. One sees entire scenes removed and the show butchered. It is happening in music and it is completely unnecessary. I am not suggesting we allow the F-word to freely flow through the daytime schedules: I am arguing we should be less rigid and show some common sense and understanding.

One can look back at the ridiculous days of Mary Whitehouse and how insane the censors were. That is still happening now – to a lesser degree – and it is stopping artists fully expressing themselves. Swearing is all around us and, while it something that should not be encouraged to breed unnecessarily, we cannot ostracise and eviscerate those who indulge that habit. We are all human and responsible for our own minds and voices. That is true of music so I wonder why we still ruthlessly and obsessively censor music in such a regimental fashion?! The argument about censorship is not binary, by any extension of reason. In terms of what we hear on the radio, of course, we need to judge things on a case-by-case basis. I agree Eminem is an artist whose music needs to be heard a lot more – his peers and many like him find few stations who play their music. Artists who rely on certain times of day to get exposure are angry and aggrieved. A daytime show should not play a song like Kim or The Way I Am (The Marshall Mathers LP) unedited. That said; why is every suggestion of swearing removed?! It is a tiresome fallacy that needs to be removed from its cloistered environs and shown the unfiltered reality of the modern world. We are less stringent about political censorship because artists do not write about it so much. How successful and likely would a Punk movement be if we took every song by The Clash, Sex Pistols, Ramones and took our all the edgy and anti-establishment messages?!

IN THIS PHOTO: Mary Whitehouse

Music needs to address a lot of issues and problems: censorship is right near the top. The same way the lack of working-class journalists and musicians exist – to show the country the realities of a less-privileged society – censoring an artist so candidly is turning music into a scholastic and overly-disciplined forum – it should be Socratic and rational (with a leaning towards the liberal and accepting). Censors and the music industry cannot reasonably edit music and think issues like sexism and racism do not exist in music. Those are big concerns but not being tackled as energetically and persistently as censorship. I think we have become more tolerant and less parental but still lack the perspicacity and reasoning to work pragmatically. There are, however, areas of society where the spicier and more human elements of the human psyche are allowed to fly unharnessed and without surveillance. An interesting article by Rockandrolljunkie.com looked at some older examples where censorship reached extremes - words and phrases being misheard and misconstrued:

"When the Taylor Swift song “Picture to Burn” first hit airwaves, some radio stations changed the line, “That’s fine, I’ll tell mine that you’re gay” to, “That’s fine, you won’t mind if I say”.

In Tom Petty’s “You Don’t Know How It Feels”, the line usually censored from airplay is “Let’s roll another joint”. In MTV’s airings and on many radio stations, the word “joint” was reversed, obscuring it.

In 2009, Britney Spears’ single “If U Seek Amy” sparked controversy in the United States due to the implications of the title. When sung fast, as Spears does in the song, the words “if you seek Amy” appear to spell out F-U-C-K me. The song was censored in the United States and retitled as “If U See Amy”, removing the “k” from “Seek”. However, the song went uncensored in most other nations. In the United Kingdom, the song was retitled “Amy” in which the chorus and bridge lyrics are mostly removed or replaced. This is the version that has been played on BBC Radio 1 and most other radio stations in England.

IN THIS PHOTO: Britney Spears in 2009

In many songs, the word “ass” is usually censored when it is used as an insult or sexually, usually by distorting the word, or silencing part or the whole word. The word “asshole” is usually completely censored, but sometimes, only “ass” is censored, while “hole” is not.

The word “crap” is usually censored in songs, like in the clean version of “Hip Hop is Dead” by Nas featuring will.i.am. When the word “sex” is used in a sexual way, it might be censored; exceptions include rapper 50 Cent’s “In da Club” and Ed Sheeran’s Don’t (in which the entire first line of the chorus is removed). The word “pissed” would not be censored if used in a way meaning “angry”, like in Papa Roach’s “Scars”, Lloyd Banks’ “Hands Up” and Lil’ Kim’s “Lighters Up”, but censored if used in a way meaning “urinating”, which is also on “Lighters Up”.

In a time when we should encourage our artists to articulate their anger and discontent with less mediation and fearfulness, censorship is a parochial and unstructured matriarch that needs…

TO allow musicians to say whatever the hell they need to!

TRACK REVIEW: Ocean China - Feng Shui (I Like the Way)

TRACK REVIEW:

 

Ocean China

 Feng Shui (I Like the Way)

9.4/10

 Feng Shui (I Like the Way) is available via:

https://soundcloud.com/dalienmarz/ocean-china-feng-shui-i-like-the-way/s-PLurk?in=dalienmarz/sets/ocean-china/s-vNaDk

GENRE:

R&B

ORIGIN:

Luton, U.K.

PRODUCER:

DALiEN

LABEL:

Radar Music

RELEASE DATE:

15th September

____________

I will start this review getting a few things off my chest.

As much as I am looking forward to investigating Ocean China – and have much to enjoy and recommend – I am forced to bring up images and the online. I accepted her review before I put my foot down regarding images – and could not reject this review because of that – but, from now on, I am turning away reviews and interviews where people cannot provide photos. It is a shame but you would be stunned how many that includes. There is an assumption, in the modern age, one can get by with very little. More photos have been taken in the past year than any time in human history: if musicians think they are able to skate by with a few images, they are in for a big shock. It is quite aggrieving seeing a profile bare and image-free. Any blog/site worth their salt are image-conscious and it is not good enough having a few snaps – the artist wanting to project a certain image and planning new shoots in the future. One cannot be precious and precise about their image and when they take photos. Grab a photographer; get a dozen photos shot and get them online. Everything I have published in the past few days has been easy: lots of images and plenty of choice for the blog. It is a relief because it makes it a lot easier for me. It is quite dangerous holding back photographs because you are going through stages and phases – it sounds quite pretentious and a little strange. The level of competition in music is so high; anyone who shows a weakness is going to struggle to get their music shared and ahead of the pack. Ocean China, fortunately, has a fantastic sound and intriguing enough that I am overlooking the lack of images. I shall come to her good points in a minute but I am being very strict with people going forward.

I, as a reviewer, can whip out my iPad and take a lot of photos over a few days – if someone wanted to run a piece about me. I could hire a local photographer and get a range of photos shot. It is never the case a photoshoot would bankrupt an artist. If one can make music and share it: they are able to take photos and accompany sounds with images. It is natural, in social media and a modern age, a musician has a selection of images. I shall come off this point but, another issue I have is artists that do not place their links in one place. So many reviews, I have been to their Facebook page. There, one finds no links to Twitter, Instagram and YouTube. I go to their YouTube site and find no mention of their SoundCloud. Before you know it; I am Googling everything about them and taking so much time to piece together their links. Two simple rules for EVERY artist out there. Number one: get a range of photos shot before you release a song. If it puts people like me off – wanting a visual aspect and appeal – then it will to others, too. Maybe others are not so precious about this but there is no logistic or financial excuse for overlooking images and thinking it is unimportant. Photos and images are crucial and one needs to have a clear and concise aspect to get their teeth into. If I have to scrabble around for details and social media links then I am unlikely to come back again – there are a lot of artists who manage to get things straight and organised from the off. I shall leave this point but, in the future, I am rejecting anyone who does not conform with the two rules – the second being their social media and organising all the links in one place.

As I said; there are things one needs to address when talking about Ocean China. I know there are more photos coming – and I hope she manages to put all her links into one place – and, let’s hope, a biography will arrive so we know more about her and what she is doing. As it is, many will pass by because the cupboard is extremely bare. I am glad I was able to procure a few details about her because, it would be a shame to let her music slip by because of this – as it is; Feng Shui (I Like the Way) is a great song that I wanted to review because I like Ocean China’s sound. I want to look at the role of the black female artist in the music scene; location of musicians and how their surroundings enforce their sound; R&B and its changing sound; the way urgency and focus are more important, at this time, than anything else – female musicians and changing the gender balance in music. I want to raise a point about black artists in music and the struggle they face. Ocean China is a fantastic artist whose sound and manner deems her worthy of further affection of investigation. I have written about race in music and how, in 2017, it seems insane we have to talk about it. I know black artists are not getting the focus and opportunities as their white peers – it extends to Asian acts, to an extent, too. I will not go into the reasons behind it but I feel there is assumption music needs to be a white medium. Genres like R&B, Rap and Hip-Hop are not as racially imbalanced as others: it is fortunate these genres are more open but one would like to see mainstream sounds take a more level-headed and less racist approach to artists. Modern Pop has a few great black artists but one feels there are restrictions and hurdles to overcome. If one looks at festivals and the big lineups and you’ll notice a comparative lack of black names. I know the majority of people in the U.K. are white: that does not mean music needs to reflect this.

It is not the case music is representative of the racial demographic and not holding black artists back. There are so many great black artists that are worthy of attention. I do worry we are denigrating and tarnishing music’s name because of the proliferation of white artists. I know genres like Pop, Folk and Alternative would benefit from being 'less white' and homogenous. How many black Rock bands does one see?! How many black Pop stars does one see?! There are a few but the vast majority are white. I do worry many (black artists) are resisting music because they feel there is no way for them to be heard. Ocean China is someone who, when her social media/photos are in order, has the ability and talent to go as far as she needs. This is an issue that warrants deeper discussion but one need only hear Ocean China and realise her background and skin colour is irrelevant. Well; there is a sense of identity she has but I mean the fact she is not white is irrelevant. She, as she claims, is a Chinese Assassin and embraces a variety of characters, cultures and images. Ocean China is a fantastic artist who improves with every release – I shall address this more a bit later. What I want to see is her music elevated from the underground to nestle alongside the best and brightest of the mainstream. Maybe she does not want the control and lack of freedom a chart artist experiences. I think she would benefit from the attention and the chance to create influence. I look around music and wonder whether we will ever see the racial imbalance redressed. There are fantastic black artists in music who are not being given adequate props. How futile it would be for me to point the obvious out: we are all the same and music is about talent and sound: the colour of one’s skin is immaterial. Maybe there will be progressive change but I do hope the industry listens to artists like Ocean China and where they come from. In her music, name and images; one draws a line to Africa and Asia – there is something worldly and continent-hopping about the young songwriter.

I want to move on to look at location and the background of an artist. One can, I guess, trace certain genres to parts of the country. R&B, I feel, as with Rap/Hip-Hop/Grime, has its roots in and around London. Ocean China is from Luton – Bedfordshire is close enough to the capital and is an area with a few R&B newcomers laying down their music. Ocean China is no moniker: that is her real name and one assumes she has rather open-minded and quirky parents. I like it because it means she stands out from the crowds and intrigues the imagination. Luton, one imagines, is not stocked with great and legendary artists – you’d be right there! What it does have is a lot of great new artists that deserve acclaim. Luton, itself, has a few radio stations and local media; there are a few good venues and there is that proximity to London. One imagines it is not as stressful and busy as London but has enough ‘inspiration’ for lyrics. There is a fairly small Afro-Caribbean population there but it is no different to anywhere outside of London. For Ocean China, she has the capital close by and the chance to reflect and create. I feel she will spend more time in London as her career expands but I have seen a few R&B/Rap artists based in Luton. It seems like a part of the country that has a certain scene and flavour. Maybe there is a sense of disaffection and detachment among the young there: perhaps there is that proximity to London and the need to break into the city. I am not sure whether Luton, in the past, has been a hub for great Urban artists but it seems there is a movement brewing. One might look at areas like that and assume it is quiet and inactive. Ocean China is among a band of great acts from the area trying to put it on the map. I am not sure how bonded she is to her hometown but it seems like a great place for her to learn and grow.

Ocean China kept her music quite until she was fourteen: up until that point; her shyness kept that magic inside. Many were shocked to hear that confident and sassy personality come through. Ocean herself grew up with MTV and would listen to artists like Destiny’s Child and Michael Jackson. That American influence was strong from a young age. One hears elements of big U.S. R&B artists in her work and, I guess, the current crop of American best are high in her consciousness.  Maybe, as a child, she did not know how to express herself or felt her music would not be accepted by the community. I have said how Luton is growing but it is not the same as London when it comes to R&B and those genres. There is a sense of the unsure and people there are not as switched-on as those in London. Maybe, during the early part of this decade, tastes were more tuned to Rock and Pop – having someone like Ocean China in their midst is quite an eye-opener! It is good to see she has allowed the music to flow free and bringing it to the people. That confidence one hears is a sense of revelation and emancipation. She has broken from a cage and prison of shyness – now, one hears a young woman making up for lost time and striking out. I am fascinated by Ocean China’s upbringing and the people she grew up around. Ocean China, in her latest track, unites Asian culture with British R&B; American sounds and a little bit of Africa. There is a clash of cultures and different sounds throughout Feng Shui (I Like the Way). I hope Ocean China remains in London as I feel it would benefit her in so many ways. She would have the chance to build her music and has a broader population and demographic on her doorstep. Luton is a great part of the country but it seems natural Ocean China would come to the capital and join her peers in R&B.

The reason I mention this is because one cannot simply label Ocean China’s music as ‘R&B’. There is Rap, Grime and Pop elements in her music. You cannot assume R&B, like Pop, is a one-dimensional genre that has a typical ‘sound’. Look at previous images and campaigns from Ocean China – for the track, Tell Your Man – and there is a cool and swagger that comes from her. It is hard to believe this is the same woman who, a few years ago, was a shy and hesitant teenager. Maybe that exposure to MTV helped bring the cool and confidence from her. There is a contemporary and cool sensation that breezes from the pores and lines of Ocean China. She oozes charisma and reflects the sounds of the street. Her put-downs and observations are cutting-edge and she fuses sounds from various genres to create something physical and emotional. The music provokes physicality and reaction: the soul and mind and pricked and one imagines what lies behind the song. Previous numbers such as Tell Your Man and Cash Me Outside are modern, streetwise songs that document the life of a rare and special star. She goes through the same tribulations and trials as everyone. Hearts and broken and there is an urgency and danger in her life; a sensitive soul and someone who does not like being betrayed. Luton is not as sleepy and docile as one would expect but, at the same time, provides enough energy and inspiration for music. When listening to Feng Shui (I Like the Way); I get a bit of where she is from but, moreover, Ocean China expands her horizons and brings in other sounds. Here is someone who is affected by men and the uncertainty of life but has an inner-harmony and need for calm. Every new song seems to bring a new identity and evolution from Ocean China. Cash Me Outside, with its Destiny’s Child/Beyoncé vibes and swagger, saw Ocean China decked in orange and (in the video) gyrating and flexing by a lift.

It was her on the street giving it two fingers – a woman brash and accusatory; forthright and in control. Touch and Feel and Honest – her earliest tracks – had a different vibe and, in a sense, a little more restrained and controlled. Every new release sees the confidence level go up but, on Feng Shui (I Like the Way), there is a move away from Cash Me Outside. Rather than seeing a hoodie and pointed lines: one finds Ocean China with an oriental fan and talking about balance and spirituality. Of course, there is plenty of swing and confidence so she does not lose her identity – she has changed her persona and addresses a new subject. You still hear Ocean China but, like any good star, she has evolved and taken on a new form. I mention Beyoncé because, from album to album, she adopts a new side. Lemonade, released last year, is an angry album that documented political and racial tensions; infidelity in the marital bed and the need for freedom and equality. Before that; albums have been more tender and personal. Beyoncé is always adapting and, not to keep mentioning her, Ocean China has that same need to keep things fresh and unexpected. Feng Shui (I Like the Way) is a different beast to anything she has done before. Having recently reviewed Grime/Hip-Hop star Signal – who is based in Basingstoke – I am hearing some fantastic artists, playing in the ‘Urban’ realm, able to evolve and shift between releases. They are not chasing a commercial vibe and are following their own path. Maybe Ocean China’s next release will be a more ballad-sounding thing where she adopts a more classic/regal look. Given the fact she is a cool and edgy artist: maybe that is a stretch but one can never tell with her. The reason Ocean China excites me, among others, is her urgency and sense of passion.

Not that calmer and more precise music is insignificant: I find the more spirited and to-the-point sounds get into the brain a lot quicker. I feel music needs artists that articulate their points with greater expediency than most. Ocean China gets to the crux and does not mess around. Maybe there is a boldness and over-confidence but it is exciting seeing a young woman that has such a flair and determination. Her raw energy and physical approach to music is typical of many R&B artists but there is something different about her. The way she fuses sounds and what she talks about – a rare artist who cannot be easily compared with anyone else. I am excited hearing her flow and rap; she works the microphone and brings every word to life. Feng Shui (I Like the Way) has different shades and colours compared with a song like Cash Me Outside. It is still an urgent song but not quite as intense as her previous work. I am excited to see whether a video will follow as I can imagine the kind of scenes and images that would come through. No doubt, with each song that arrives, the Luton-born star improves and strengthens. I guess that is natural for someone who is getting more exposure and seeing her music regarded in wider circles. I do wonder whether she has any gig arriving – I will go into depth later – because I sense a hungry and ambitious artist who wants to take her music to the masses. I will move on but wanted to highlight how a song that moves and gets to the point is a lot more likely to get into the head quickly. That may sound obvious but there are many artists writing big and intense tracks that fail to carry any substance and nuance. This is not the case with Ocean China. She is a woman who can write a banging and intoxicating tune and keep you coming back for more!

The opening notes of Feng Shui (I Like the Way) trip and dance their way into the imagination. In a way; it reminds me a bit of FKA Twigs and Dizzee Rascal. One hears the intense possibilities and street-ready dangers of Boy in Da Corner – there is relief and the kaleidoscopic tenderness of FKA Twigs’ best moments. In many ways, there is more breeze and ease to Ocean China’s notes. Opposing the more sassy and strident swagger of Cash Me Outside: Feng Shui (I Like the Way) is a more calm and spiritual number – in the opening stages, at the very least. The heroine does not want any bad vibes – she is putting that all behind her – and those bad characters are being cast away. Maybe this relates to lovers and friends that send negativity and shallowness. “Whine up yuh waistline” is an interesting expression and not one I have heard before. A couple of artists have used it as a song title – or variations on the phrase – but it shows the way she used modern and niche lexicon to explore common themes. It seems, as opposed to previous numbers, there is more peace and contemplation in Ocean China’s heart. One gets a flavour of the East when listening to the song. There is a definite nod to Asian sounds and philosophy. When the chorus strikes; you get Pop and R&B sensations that bring smile and comfort. It is a beautiful and rushing sound that unites 1990s’ best R&B with the eclectic and modern sounds of the day – a blend that is hard to refuse. The heroine likes the way (the hero) makes her feel good – the way he puts it down and picks her up. There is sexiness and sensuality to the words but a comfort and sense of purpose. Maybe she has experienced enough heartache and disruption in the past – now, there is the excitement of a pure and solid love. It is the electricity and smile of the song that makes one connect and bond with Feng Shui (I Like the Way).

What I love about the song is the performance and diversity Ocean China displays. Her voice is able to cut and draw blood but here she is in a more balanced and secure mind frame. Adopting the peaceful and soul-balancing practices of feng shui; one feels Ocean China is trying to erase the past negatives and embrace a more calm life. It would be quite hard to hear a woman going through perils and seeing her stressed. Because of the issues she has faced – previous songs provide story and clarity – here is someone who is more secure in her skin. The boy looks at her like she is ready to be devoured. She wants him to come over and satisfy her – one of the rawest and most direct songs she has created. Maybe that sexual relief and release, tied with a deep affection and comfort, is what is needed to eradicate the stresses and problems of life. Too many problems have come her way so far: this is what she needs; the need for something physical and satisfying. Of course, there is spirituality and mindfulness in everything she says. Feng Shui (I Like the Way) is not only about attraction and physical satisfaction. There is a deeper needed to cleanse and castigate spirits that have been haunting her. Those bad vibes and energies have poisoned the water – she is making changes and getting rid of all those people that create issues and drama. It is refreshing seeing an artist so determined and assured of what she needs. So many songs are filled with recriminations and blame. Here, there is a more positive and calm demeanour. In terms of sounds; the composition does inject elements of the East; there are Rihanna-like vibes and, strangely, sounds of the Caribbean. A certain cool and wind come into the music. Notes bend and contort; the vocals have sensuality and allure that matches the lyrics. There is sweat, saunas and suggestiveness – that is a Jackie Collins novel that never was! – and the heroine wants her boy to get with her and show what he is made of. It is never lurid and too profane – there is tease and suggestiveness that projects images and possibilities.

Feng Shui (I Like the Way) becomes less about a spiritual balance and more about a physical satisfaction. In a manner, when one thinks of what feng shui is – moving objects in a certain way and maximising the physical environment – you can apply that to the sexual. The bodies can move in a certain way and the lovers can position themselves in a manner that harmonises and satisfies – that is sounding rather sexual but that is the point I guess. The bodies move like furniture. There is contestant physicality and the need to reposition and maximise intensity. It is a clever way to look at sex and love: the soul and home are not going to be at its best if there if things are out of balance. The heroine seems is a satisfied and content space. She urges the boy to come at her and there is sweat dripping from the speakers. Whilst the verses have a rough and raw vibe: the chorus layers the vocals and has a sweetness that provides contrast and variety. It is a fantastic blend and one that creates a balance in the song. At every stage – and each component of the song – considers dynamics and environment. It is a testament to Ocean China and her abilities that Feng Shui (I Like the Way) is such a strong song. DALiEN expertly helms and bring the very best from lyrics and music. Controlling the flow and assuring it is given the best treatment possible; it gives the song the urgency it requires but does not wash all the colour and physicality out of it. So many songs are over-produced and lose their identity. DALiEN does not do this and allows Ocean China to have her voice and personality remain – whilst giving the track a polish and professionalism. That unity of American R&B and British Hip-Hop is an intoxicating brew and one that we need to hear more of in the underground. I feel Ocean China has the ability to transcend to the mainstream: Feng Shui (I Like the Way) is an example of why that statement is not an exaggeration.

I have talked a lot about Ocean China and shall not labour my point about photos and their importance – let’s hope that is something that improves with time and experience. I wanted to focus on the good points because there are many of them. There are few artists that have the same dynamics and abilities as her. Ocean China is a bold and passionate artist but someone who can mix tenderness into her sound. Looking at her and one senses a current and street-savvy performer – she is beautiful and striking but it is her fashion and stylistic approach that appeals to me. Every new song sees her project a new wardrobe and aesthetic. Feng Shui (I Like the Way) fuses Asian cultures with the sounds of British streets. There is Urban/R&B grit with something more colourful and light. Previous numbers have been direct and hard-hitting - Feng Shui (I Like the Way) absorbs new sounds and is a different experience. What I love about Ocean China’s music is its passion, quality and diversity. I can imagine an E.P. coming and feel she has enough material to put one together. I am not sure whether that is a plan for next year or whether she is releasing one later this year. Feng Shui (I Like the Way) is out in a few days and, one imagines, a video will arrive. I would like to see an Ocean China E.P. as that would unite all her songs and give the fans a chance to see how her music has progressed and shifted since 2015. Touch and Feel was her first track and, in the two years since, the Luton artist has grown more confident and assured. Maybe she wants to release a few more singles but, in terms of getting her name out there, putting all the songs in one place is a lot more effective. In everything she does; one gets a sense of the personal and romantic. Relationships and men are addressed; the way relationships are not as stable and certain as they should be. Hre music looks at confidence and being independent; not putting up with any crap, essentially.

These are subjects and sides that are common but it is the way she projects them that elevates them beyond the predictable. I am excited to see where Ocean China is heading and how far she can take her music. I know there will be gigs arriving but it would be good to see her perform as much as possible. Perhaps that is something planned but London is waiting, for sure. There are a lot of spots around the capital that would put her up. I mentioned Signal and how he has managed to progress and impress. He has performed at venues in Camden and seems at home in this part of the city. Maybe North London is a more profitable part for Ocean China but her music has the ability to grace any stage. She should have s think about that and how transferable her music is. When Feng Shui (I Like the Way) is officially released to the world; there is going to be that promotional drive and needs to get it to as many as possible. I know she will be looking for interviews and spreading the words. Gigs are important and easy ways of connecting with people so let’s hope there are some approaching. These are still early days but I sense an artist who wants to succeed and make her way into the mainstream. I have talked about black artists and how they are overlooked but that extends to females, too. In many ways; being a black woman in music is as much a challenge and issue as anything. We know, to an extent, music is aimed at the white man – and run by them – and there is discrimination that needs to be tackled. Growing up listening to Beyoncé and Michael Jackson means Ocean China has seen artists who tackle these barriers and have broken ground. Michael Jackson was one of the first black artists to feature on MTV and was often told he could not have videos featured because he was black. Beyoncé challenges racism and is one of these people who does not sit by and let judgement rule the world. Those defiant and passionate artists have helped Ocean China come out of her skin and strike. I am not sure how much prejudice Ocean China has faced but she must be aware her path to the mainstream is a lot rockier and longer than many of her peers. Her music is stunning and deserves all the respect it gets. Maybe she will remain in Luton but I feel London’s lure and opportunities will be too sexy to resist.  She has the city near-by but basing herself there would mean she is more visible to the most influential and prominent labels and venues. Let’s end this by saying one needs to listen to Feng Shui (I Like the Way) and experience an artist who is making her name known. That name is one you won’t forget: the music is as compelling and fascinating as one would expect from such a soul. The progression and evolution is a perfect example of what music is about. I hope success comes to Ocean China’s feet as she deserves many happy years in music. Feng Shui (I Like the Way) is a great example of where she is heading and what she is about. Make sure, with the song imminent and about to make its presence know, you are…re

READY for something special.

_______

Follow Ocean China

Twitter:

https://twitter.com/iamOceanChina

Facebook:

https://www.facebook.com/iamoceanchina/

Instagram:

https://www.instagram.com/iamoceanchina/

YouTube:

https://www.youtube.com/channel/UCbPlMcuO-7Okj0_5k6GTPNQ

SoundCloud:

https://soundcloud.com/iamoceanchina

INTERVIEW: EERA

INTERVIEW:

PHOTO CREDIT: Alice Rainis  

EERA

________

THE majestic and mercurial EERA announced the release…

 PHOTO CREDIT: Alice Rainis

of her debut album, Reflection of Youth – it is out on 3rd November via Big Dada. She has shared two new tracks: the sublime I Wanna Dance and Christine. I ask about the tracks and the origins of both. She discusses her album and working with Nick Rayner; what it was like working at a dairy farm in West Wales – and locating to Cork to record. EERA explains why the songs were recorded in the small-hours and why there is such a variety of sounds between tracks – a sign of an artist searching for answers and exploring her limits?!

She talks about tour dates and the artists influential when growing up; advice for any new artists out there – and the good and bad aspects of living in London (where she is now based).

_________

Hi, EERA. How are you? How has your week been?

Yeah, it’s been a very exciting week - since I finally released two of my songs off my upcoming album! 

For those new to your work, can you introduce yourself, please?

Sure. My name is Anna Lena Kirsten Bruland and I'm currently based in London - but I'm from a small town in Norway. I started EERA in 2015 and released my first E.P. back then - and now, I finally get to release my debut album. 

PHOTO CREDIT: Jodie Canwell

Reflection of Youth, your upcoming album, is out on 3rd November. What provided the inspiration for the songs and how much did you learn, about music and yourself, when recording the L.P.?

I just wanted to create an album that was very honest and true to myself. I have to admit that it feels a bit scary to release an album like this, but then again it's the most natural for me. 

I Wanna Dance and Christine are two new tracks. What can you tell us about the story behind each of those numbers?

I wanted to write a very ‘straight-to-the-point’ song (I Wanna Dance) where the message was very clear. I still find the so-called ‘standard’ things in life hard to concur: love, money; feeling free from worries. This song is about just wanting the simple things in life so that you will feel free enough to dance. 

Christine is about my sister and our relationship - that we always encourage each other to stay strong and (also to) believe in ourselves. 

In terms of sounds; there are a lot of differences between both tracks. Was it important to create contrasts and variations in order to give the album a sense of character and narrative?

I guess that just comes from me listening to a lot of different music.

My writing usually evolves around the Indie-Rock world but it varies from very heavy Rock to ‘quiet’ songs with synth. elements - so, I always wanted to combine these two worlds.  

I also get very much inspired by sounds and making sure that there's elements of surprises in each tune. 

You worked with producer Nick Rayner on Reflection of Youth. What was it like working with him and will you two be working together again?

Nick is amazing.

He found the EERA that was hidden within me and helped me to get all the sounds out from my head. When I first started working with Nick, I walked in with very simple demos; guitar and vocals. He really pushed me to start arranging everything myself.

So, when I walked into the studio with this album, my songs were much more evolved. 

PHOTO CREDIT: Alice Rainis

I believe the album was recorded at a dairy farm in West Wales and a studio in Cork. Why those locations and was there a sense of quiet and peace that meant you could knuckle-down and work?

Yeah. I just wanted to get out of London and really focus on the album. I was very determined that I didn’t want to focus on anything else whilst recording. 

Many of the songs were recorded in the small-hours. Was that the best time to record – to reflect the sense of reflection and investigation in the lyrics?

I love how quiet it is around me at night-time - and that no- one will disturb you. Perfect atmosphere to write for me.

PHOTO CREDIT: Jodie Canwell 

How do you feel about the record listening back to it? Do you notice a lot of changes and differences from your earlier work?

Yeah, absolutely.

I feel like this album is a lot louder and more confident than my E.P. Having said that, though; I still feel like I’m searching for my so-called ‘sound’. Maybe that's something that I will always search for?

You are based in London but raised in Norway. What was it like living there? How do expectations and society vary there and was it quite a different way of life growing up in Norway?

I loved growing up in Norway andI really miss the nature over there and also living by the sea. I wouldn't be surprised if I move back one day. 

However, it was definitely the right choice to move to the U.K. at an early age to pursue my music career. It's a lot more opportunities here for an Alternative artist like myself. 

PHOTO CREDIT: Jane Jimenez

How important are London and her people? Do you feel settled in and want to remain in the U.K.?

I have a love/hate relationship with London which I think a lot of people have. I love that it’s a busy city - but I also hate that it’s a busy city. Ha! I came to London with one goal; get a team to work with me and I'm so happy that I've managed to find the best team for me to work with. 

I don't feel settled - even though I've been here for ages. I'm still searching for the city that suits me, I guess. 

Can you remember the artists you grew up listening to – that inspired your step into music?

Yeah.

I started listening to Norwegian singer-songwriters: Thomas Dybdhal; Kings of Convenience and Ane Brun - but things quickly changed when I was introduced to Queens of the Stone Age: Rated R was on repeat. After that followed Interpol; then PJ Harvey; then Deerhoof…the list goes on.

What tour dates are coming up? Where can we come see you play?

I'm playing a show at Beyond the Tracks festival in Birmingham on 17th September. Following that, I have two in-stores: one at Rough Trade Nottingham on 7th November; the other, at Rough Trade East on 9th November. 

How is the rest of the year shaping up? Will you get a chance for a break or is it pretty busy until 2018?!

I hope it will be very busy!

I guess I’ll have to wait and see how well my album will be received...

Who are new acts you recommend we check out?

I love my mates in ALASKALASKA - I think they're awesome. Also; The Mantis Opera - they're insane, live! 

IN THIS PHOTO: ALASKALASKA/PHOTO CREDIT: Steph Wilson

If you had to select the three albums that mean the most to you; which would they be and why?

This is such a difficult question - since there are way more than three…

I guess, Rated R - Queens of the Stone Age

It is important for me because it was when I realised that I love grungy, loud guitars! Ha! Simply put... 

I guess, also, Radiohead - 15 Step (from In Rainbows)

They introduced me to synth. sounds and Electronic elements.

The last one has to be Offend Maggie - Deerhoof

I remember being mesmerised by all the different details and surprises during their songs. Loved it. Since then, I've actually seen them play live seven times. Clearly obsessed.  

PHOTO CREDIT: Jane Jimenez

What advice would you give to artists coming through right now?

To work extremely hard and not expect fame and success over night. Believe in yourself and be patient. 

Finally, and for being a good sport; you can name a song and I’ll play it here (not one of yours as I’ll do that).

Can I please choose two? It's too difficult to pick just one.

Black Hearted Love - PJ Harvey and John Parish

My Purple Past – Deerhoof

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Follow EERA

PHOTO CREDIT: Alice Rainis

Official:

http://www.eera.co.uk/

Twitter:

https://twitter.com/EERAmusic

Facebook:

https://www.facebook.com/eeramusic/

Instagram:

https://www.instagram.com/eera_annalena/

SoundCloud:

https://soundcloud.com/eeramusic

Spotify:

https://open.spotify.com/artist/1kr9ySHpN45SVd5nJVbIbc

INTERVIEW: The Rah’s

INTERVIEW:

PHOTO CREDIT: Mike Briggs 

The Rah’s

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IT has a while since I have investigated a…

raw and ready Rock band. The Rah’s are a cheeky and fun quintet hailing from Prestonpans – and are one of Scotland’s finest young bands. I find out more about The Time Is Now – a call-to-arms and anthem for energy and change. The boys explain why there is a need for rebellion; why they feel Rock is alive and well, still – and how Pop music does not engage them the same way (as Rock).

I ask the band about their touring plans and what life is like in Prestonpans. They chat about their coming-together and what it was like recording at Maybank Studios alongside Producer James Darkin.

_________

Hi, guys. How are you? How has your week been?

We are all good. Excited for this release!

Musically, it has been productive. Work-wise, absolutely draining.

For those new to your work, can you introduce yourself, please?

Well, basically, we are a bunch of good mates with a passion for bringing live music back to our area; creating our own songs and image on the way - and enjoying the adventure that it brings.

Prestonpans is your base. What is it like living there? Is it quite a busy music scene or do you have to go into Edinburgh to find a bit of musical action?

Living here is pretty standard: nothing exciting about it, but it’s our home. There is (just) your basic pub entertainment, really: to see bigger bands/gigs then aye you’ll need to head into Edinburgh for that - even though the music scene isn’t up to much at the moment.

The venues are shutting down left-right-and-centre.

The Time Is Now is your new single. What can you tell us about it?

The Time Is Now was written a good few year back.

Our loyal fans will know the original version (from our 2013 E.P., Living the Dream). We decided to give the song another visit - to hype it up. Taking it to James Darkin was just what it needed - the final product we wanted.

It is a direct and charged song. How inspired are you by what is happening around the world? How do you judge where we are at the moment and the state of affairs?

The song is directed at every single person who ever had a glint of hope in them - to spark a change from the smallest thing in your life to an all-out rebellion. The current state of affairs makes it the perfect time to release this beast!

The world needs a drastic change!

What was it like recording in Maybank Studios alongside Producer James Darkin?

It was a new environment for all of us: we’d never recorded there before and it was James’ first time in bonnie Scotland. From the minute we met him, we got the feeling we were in for a treat. With his wealth of experience - from working with some of the world’s best artists - he opened our minds to ideas we normally wouldn't consider.

His input combined with ours made for a perfect match. The song was recorded with no click track involved to get the proper feel for a live, raw sound.

How would you say you’ve changed since your last track, Sweet Talker, and, say, your earlier E.P.s? Do you consciously set out to depart from what has come before?

We've always learned from our experiences along the way and we've definitely matured.

We accepted that the song wasn't up-to-scratch before - so we gave it a completely new feel. The music we have been making, recently, has been moving a lot more toward the Rock genre - from Sweet Talker-type sound we had before. The changes have kinda been gradual with no intent; sorta flowing naturally.

We’re all on the same wavelength now. 

Sweet Talker, I believe, was recorded in Bradford. Being a Scottish band; what was the reason for recording there?

Our manager had some contacts point him in the direction of Peak Studios.

The producer, along with the studio, was highly recommended. We are always up for a change of scenery - as being away from home always inspires and opens your eyes to new ideas.

Is there going to be more music later this year/2018? How fertile are the creative juices right now?

We have plenty more tunes brewing at the minute...

All of us can’t wait for our next session in the studio. It’s something we absolutely love: it gets us through all the long hours of practice. We’re looking into recording one more song this year and, as always, are buzzing to let everyone hear it! 

The Rah’s formed in 2011 through a deep friendship. What was the reason for starting the band and how did you meet the newest recruit, Chris?

At first; it all started as a little muck around. We all had a love for music but never really thought anything of it. We had a few practice sessions and the whole idea grew on us.

So, we thought we’d try our hands at it…after all: who wants a nine-till-five taking up the best years of life!?

What have been the biggest changes from your inception in 2011 to now, would you say?

Matured for definite - musically and mentally.

Our influences haven’t changed but we’ve definitely explored and studied music a lot since then - so we have opened a whole new bible of influences.

The likes of Arctic Monkeys are promising new material this year. It seems solid and dependable Rock bands are coming back strong. Do you sense something in the air or are people looking for music direct and meaningful?

Well, Rock music will never die. I’m sure Alex Turner said that himself: it’s inevitable. The Pop music of today is meaningful to some, but not so much to us. Being in a band makes you look into music a bit further than the standard music listener.

Pop music these days is only meaningful because the melodies are catchy; the majority of the lyrics are written by other people so to the artist singing and performing it seems pretty meaningless. I mean, fair enough making millions – but, having it spoon-fed to you and not showing any passion/input/talent towards the making of the music is very frustrating for bands like us.

Among your future tour dates is a gig at The Dublin Castle on 16th September. Are you excited about that one and, after dates in London, Liverpool and Manchester – will there be any more after that?

There will be plenty more to come this year…that is all we have confirmed so far. Also, more studio time - so more new music coming your way!

Who are new acts you recommend we check out?

Blossoms, Jagwar Ma (not-so-new  - but, possibly, for people in U.K.); Neon Waltz; Medicine Men; Saint PHNX; The Shimmer Band; Rituals; Morganway; Louis Berry; superfood; Tijuana Bibles…. The Rah’s.

Dig in!

IN THIS PHOTO: Tijuana Bibles/PHOTO CREDIT: David Muir Photography

If you each had to select the album that means the most to you; which would it be and why?

Red Hot Chili Peppers - By the Way

It has absolutely everything in it.

The Beatles - Abbey Road

Inspiring.

Kasabian - Empire

Banging!

Tame Impala - Lonerism

Takes you away from reality.

What advice would you give to artists coming through right now? 

Stick at it; dig deep: no matter how bad you think you are doing, just keep going - especially if you are enjoying it! Take everyone’s comments in but don't let them effect your decisions drastically: it’s for you to choose what music you create and if it sounds good to you - play it with pride!

Finally, and for being good sports, you can each name a song and I’ll play it here (not one of yours as I’ll do that).

YAAS!

Jack: The La’s – Feelin’

Neale: Blossoms – Blow

Jordan: Black Rebel Motorcycle Club - Weapon of Choice

Andy: Temples - Mesmerise

__________

Follow The Rah’s

Twitter:

https://twitter.com/therahsmusic

Facebook:

https://www.facebook.com/therahsmusic/

SoundCloud:

https://soundcloud.com/therahsmusic

Spotify:

https://open.spotify.com/artist/5mNQ5IIvwRhcLKP0QSZNOq

YouTube:

https://www.youtube.com/channel/UCks2udwJN0vKiFpCrezcoaQ

INTERVIEW: Siobhan Wilson

INTERVIEW:

 Siobhan Wilson

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THIS is a busy and hectic time for. Siobhan Wilson.

Her album, There Are No Saints, was released a couple of months ago and has been getting a huge amount of love. With the video for Dark Matter in the ether; a lot of eyes and ears will be on Wilson and her stunning music. I speak with the Scottish-born songwriter about her latest album/video and what tour dates she has coming up.

Wilson talks about the acclaim she has been receiving; spending time in Paris and whether her music has changed since 2014’s Dear God. She picks an artist we should check out and what advice she would give any new songwriters emerging.

_________

Hi, Siobhan. How are you? How has your week been?

Hiya.

The best thing that happened this week was getting played on BBC Radio 2. The worst thing was that my goldfish King Alfred died.

Everything in-between has been fine.

For those new to your work, can you introduce yourself, please?

I'm a singer-songwriter, musician; artist and writer who lives in Scotland but floats about a bit in Paris, in studios - and more remote parts of Scotland.

There Are No Saints, your recent album, has been gathering a lot of press since its release. How would you define the album in terms of the themes addressed and the stories included?

I think all albums are defined by passages of time. The time they take to write; the time spent in the studio; he time when people listen and reflect; the events that inspire songs; he way the songs become a version of the past. It's like a gathering together of a few years of my life: a huge release that took a lot of work, and now, I feel like somebody new.

By the time you've made an observation, everything has changed anyway. It's a bit like a photo or like putting your hand through water and letting the sounds ripple out - you wouldn't capture everything and it wouldn't be a true representation of the real experience.

Has it been flattering seeing sites like The Line of Best Fit backing and promoting your music?

It's been a surprise: I didn't expect it.

I care a lot about the music and it makes me happy when other people do too. I just think: "Well, what else is there to do?"

BBC Radio 6 Music has compared your voice to a nightingale. It seems like they are a station that has taken you to heart! Do you hope to perform for them one day and are you a fan of the station?

I played a session on Mark Riley when Vic Galloway sat in for him. It was so much fun! I felt like a Pop star. I loved being in the studio with all the big mics - and Vic made everyone laugh. I listen to '6 Music in my spare time; so it's surreal to be there.

I've got another '6 Music session in November but I've not announced it yet...it will be epic!

Dark Matter is your latest video. What is it about the song that meant you wanted to release it as a single? Can you remember writing it and why you were compelled to put pen-to-paper?

I wrote it very fast, I think - in an hour or two one afternoon. It started off despondent and depressed: really long strums and about half the tempo. It was dragging on and boring - like everybody would drown inside the song if they listened to it for too long and the world would disappear inside itself. Chris McCrory really brought it to life with percussion and his good attitude (and good vibes). 

The label released it as a single because they liked it. I like all the songs equally and always like the weirder ones. When it comes to picking singles, I'm not introspective enough to pick a song that represents me or a whole album. I let somebody pick who is good at seeing that.

The video is colourful, to say the least. What was it like filming and who came up with the concept?

Mario Cruzado did an awesome job. He's really sensitive to colour and light. He is going to do some brilliant things.

My favourite bit of the day was when I got to smash plates! 

I believe, of all the album tracks, Disaster and Grace, is your favourite. Why that track?

Right now it's There Are No Saints (the title-track). It changes all the time...

Song, By Toad Records is the label you are with. What are they like to work with and are you allowed the freedom to create the music you want to release?

Yeah. You can have lots of freedom and they are clever about that. They encouraged me to put the record out and they are nice humans.

You were brought up in Morayshire but moved to Paris. What kind of music did you listen to as a child and how important and influential was that move to France?

I think more Classical and Folk music when I was a kid - then some Jazz and Electronic music in Paris.

What did you learn from that time in France and do you hope to return there one day?

I just spent most the summer there.

I go all the time but mostly just a couple days at a time. It's a total change of scene and it's not that far away from Scotland. It's a romantic place but also a practical get away for me.

it's refreshing to be somewhere new that's not too far away.

How would you say your music has evolved and developed since, say, 2014’s Dear God? Have you improved and grown more confident since then, would you say?

I don't know. I think it's hard to measure. I definitely enjoy being on stages more than ever.

What tour dates do you have coming up? Where can we come see you play?

I'm on tour for most of this month and really excited about it!

8th September - The Blue Lamp, Aberdeen

9th September - The Drouthy Cobbler, Elgin 11th September - The Castle, Manchester 

12th September - 81 Renshaw Street, Liverpool

16th September - The Bothy, Glenbuchat

17th September - The Basement - Live Music & Comedy Venue, York

18th September - The Tree House Bookshop, Kenilworth Arts Festival

19th September - The Musician, Leicester

20th September - Sands Films, Tuned In London 

21st September - Kitchen Garden, Birmingham

22nd September - The Hall, Lancaster

24th September - The Voodoo Rooms Bar - Restaurant & Function Rooms, Edinburgh

28th September – Tolbooth, Stirling

Do you take other musicians on the road with you? Do you have anything outrageous on your rider - or is it quite modest?

Yes, I take my friends on tour with me and I'm very happy to have them there with me. My rider is really modest and boring. I don't want anybody to make a fuss. The French have got it sorted.

When I'm in France, I do what I'm told. I appreciate really good food and when food isn't good, I'm like, "Oh well, let's not dwell on it." It's the worst thing in life - talking about the food that you're eating and how you're not enjoying it.

I'm going to start asking for five lottery tickets to bring a flash of hope to the team's eyes.

Who are new acts you recommend we check out?

The Van T's (in Glasgow) are cool. 

What advice would you give to artists coming through right now? 

Don't wait for other people to give you work: try to make your own. If you ever feel like you're a girl surrounded by guys: do everything you can to employ some women.

Finally, and for being a good sport; you can name a song and I’ll play it here (not one of yours as I’ll do that).

Can you please play Just Like Honey by The Jesus and Mary Chain?

___________

Follow Siobhan Wilson

Official:

https://www.siobhan-wilson.com/?ct=t(Siobhan_Wilson_September_tour9_7_2017)&mc_cid=712b0cd0c2&mc_eid=811e7bccd3

Twitter:

https://twitter.com/SiobhanIsBack

Facebook:

https://www.facebook.com/siobhanwilsonmusic/

Instagram:

https://www.instagram.com/siobhanisback/

SoundCloud:

https://soundcloud.com/siobhanwilson

Spotify:

https://open.spotify.com/artist/4EDH5c8x5E958c3AUwqvlp

INTERVIEW: Violeta Skya

INTERVIEW:

 Violeta Skya

________

WITH its intoxicating sound and alluring video…

there is an arresting and memorable quality to Kiss Me’s video – the latest track from Lithuanian-born artist, Violeta Skya. That video was constructed by a talented team - Music Production - Jose Cubides; Videography - Jay Kristoffer; Model - Janis Zeilins; Video Assistance - Polina Lobasova; Video Editing - Valeria Meng; Colour Grading - Philipp Morozov – and shows what a talent Violeta Skya is. I speak to her about the song and its origins; what it was like shooting the video – how she finds London (now she is based here) and whether it differs vastly from Lithuania.

She talks to me about influences and the artists who made an impression on her young; whether there is an E.P. on the horizon – and how her time studying at BIMM (British and Irish Modern Music Institute) has strengthened her music.

PHOTO CREDITS (unless stated otherwise): Jay Kristoffer

_________

Hi, Violeta. How are you? How has your week been?

Hi, Sam.

It has been an extremely busy, but exciting, week. I am so happy there is a lot of positive extensive feedback about Kiss Me from music industry people – and I make new contacts. Also, I am finishing material for my next release - as well as planning a lot of exciting things related to my current release. There are few exciting surprises on the way.

Additionally, I’ve been contacted by several musicians from Chicago (I am going to visit the U.S. in a few days) and might be having some acoustic performances there - which take a lot of planning too.

For those new to your work, can you introduce yourself, please?

I am a singer/songwriter based in London - but originally from a Lithuanian-Slavic family. Music is my biggest passion, my love and my main goal.

Kiss Me is your debut single. Can you tell us about its creation and what inspired the song?

The idea was to make a dark Dance track. I wanted to express one of the wild sides of my personality - which I am sure everyone can identify with.

Its video is quite racy and intense. What was it like filming it and was it quite nerve-wracking shooting some of the ‘sexier’ scenes?

Actually, shooting was so much fun and everything came very naturally. I felt really relaxed and comfortable with the model Janis Zeilins. We were dancing to the song, freestyling; letting ourselves go with the flow - so we ended up contributing loads of new ideas as well.

He definitely was the perfect match for this project. Also, we became friends and support each other now.

Kiss Me is a very current and accessible track. Do you take a lot of influence from mainstream artists or are you more drawn to the underground?

The idea was to make a (Dark dance) track with some Vogue vibes. I am inspired by Madonna, Kylie Minogue and Michael Jackson. I wanted to express some misty, sensual, yet empowering, feelings.

I have to say; this track is quite unique and different from my other music - so I decided to release it as the debut single...

...but it’s why I love it.

What is your opinion on modern music and chart acts? Do you feel there are a lot of positive role models and strong artists out there? Do you have a goal/dream you hope to achieve in music?

Yes. There are definitely some very talented artists as well as some great new acts - such as Dua Lipa and Camila Cabello.

My goal is to ‘make it’ on the music scene - to be a successful and well-recognised artist and be able to do what I love the most for a living.

Was it quite hard putting the song together? How does the music coalesce? Do you start with lyrics and add music or get caught by a beat – and the words flow around that?

It was a really enjoyable process as everything came very naturally - as the atmosphere in the studio is always very friendly and relaxed. This song was written with my producer, and dear friend, José Cubides. When I arrived at the studio, I had a beat and the idea in my head; he added a catchy bass-line and we took it from there. 

The melody and lyrics were written really fast and organically and, when I showed the idea to José, he loved it.

PHOTO CREDIT: Sandy Kohlmayer

Vilnius, Lithuania is where you started life. How does life in London compare to Lithuania? Is there much of a music scene in Vilnius?

London is a completely different world with all the possible opportunities and numerous events here. For me, London is the capital of music in Europe - and the place where I want to be. However, I love Lithuania - which is and always will be my home - and there definitely is a music scene with some prominent, very talented and unique artists.

What kind of music did you grow up surrounded by? Is it true you are a classically trained pianist? It seems music arrived in your life early?

I grew up in a multilingual environment; surrounded by many different types of music, such as Lithuanian, Polish; Russian Pop music - as well as listening to world hits and the most-prominent artists of that time. Also, I was studying Jazz at Vilnius Conservatory and had a chance to listen to a lot of Classic-Rock as it’s my dad’s favourite genre.

So, when I was growing up, I had many opportunities to listen, as well as perform, a lot of different music.

Once you arrived in London, in 2014, you studied at BIMM (British and Irish Modern Music Institute). How important was that time and how important was your time there shaping who you are as a musician, now?

It was an incredibly important time at BIMM, as I was in great music environment where you can learn so fast; network with other musicians; get motivated and receive many opportunities outside the university as well. I used those years to experiment: go through many styles more in-depth; sing in several bands; collaborate with producers; write top-lines; write my own music and look for my unique style - which I think I finally found.

Are you looking ahead at a new single or E.P.? Can we expect another Violeta Skya song before the end of this year?

I would like to go step-by-step for the moment: I want to see how fast is everything going with this single and then make the next decision from there. However, I have been recording plenty of new material. I want to release soon and definitely think there would be some exciting releases this year.

Do you have any hobbies outside of music? Do you get much chance to explore Britain and see new parts?

I really like fashion, modelling and photoshoots. Also, I have other interests, like living a healthy lifestyle and psychology.

I love travelling and definitely would love to explore Britain more.

PHOTO CREDIT: Sandy Kohlmayer

Who are new acts you recommend we check out?

I really like Zak Abel and Mabel.

If you had to select two albums that mean the most to you; which would they be and why?

I’m Breathless: Music from and Inspired by the Film Dick Tracy – Madonna

It’s her second soundtrack album - which made me mesmerised. It was one of the first albums to inspire me to become a singer.

Crazy in Love – Beyoncé

Beyoncé is one of my all-time-favourite artists. When this album came out, it was really a ‘banger’ - with five hit singles. I was watching all her live performance at that time, too. Beyoncé is such an outstanding vocalist, incredible performer and an icon. Also, I love her attitude and work ethic.

What advice would you give to artists coming through right now?

I think one of the most important things is to be honest and real with your music and songwriting. Being sincere is essential: people can sense that and gravitate towards the 'read deal'. Also, always persist and be brave enough to go for things - which may scare you the most.

As Jared Leto said: “Work is the bridge between dreams and reality”.

Finally, and for being a good sport; you can name a song and I’ll play it here (not one of yours as I’ll do that).

Erykah Badu – Next Lifetime

I don’t know why this song came to my mind first.  I just love everything about it. It’s very sensual.

___________

Follow Violeta Skya

PHOTO CREDIT: Jaro Michalko

Official:

http://www.violetaskya.com/

Twitter:

https://twitter.com/VioletaSkya

Facebook:

https://www.facebook.com/violetaskya/

Instagram:

https://www.instagram.com/violetaskya/

SoundCloud:

https://soundcloud.com/violeta-brodovskaja

Spotify:

https://open.spotify.com/artist/37ejdU331mtt2i5obvvWsz

INTERVIEW: Amy Lawton

INTERVIEW:

 Amy Lawton

________

I realise, I have interviewed quite a few…

female artists this past week. Part of the reason (I have done this) is to redress the balance of male-heaviness that was appearing on my blog: the other, to recognise some incredible artists producing sensational work. Amy Lawton is one such artist who is worth serious passion and attention. She discusses her single, Undone, and whether there is going to be more material before the end of the year.

I ask Lawton about song inspiration and what it was like being featured on Deezer; what it was like touring with Jack Savoretti – and whether artists like Suzanne Vega, who she has been compared to, were crucial in her early years.

_________

Hi, Amy. How are you? How has your week been? 

Hi, I’m good thanks.

My week has been good so far. I had a couple of gigs and in the studio - the rest of the week working on new material.

For those new to your work, can you introduce yourself, please?

I’m a twenty-year-old from Manchester - who’s been writing songs since I was eleven. I’ve been gigging and working on music in London for the past few years.

I’ve been lucky to meet and work with some great people in the industry so far.

Undone is your new single. What can you reveal about its beginnings and story?

I was inspired to write Undone when an ex showed up at one of my gigs, uninvited.

It was an unusual situation, so I wrote a song about it. In fact, I started writing the lyrics to the song that night at the show.

As a twenty-year-old making her first steps into music; how are you feeling about the song and the reaction it is getting thus far?

It’s been a great reaction so far...

It’s really encouraging and it’s been great to put some music out there.

Does it encourage you Deezer have featured it in their ‘Brand New UK’ section prominently?

Yes. It was really great to get the playlist.

Deezer has a great reach - so it’s nice that lots of people are hearing it. It’s always good to get some positive affirmation and know that the song is connecting with people.

Its Country-Pop sounds are sure to lift the spirits! There is pain and a sense of struggle alongside that energy. Is it hard writing something personal whilst keeping it light and accessible?

A lot of my songs have a bitter-sweet flavour to them.

I like to juxtapose a happy, upbeat sound with lyrics that are heartfelt, meaningful and personal. This isn’t difficult for me as it’s always felt like a natural way to express what I’m going through.

Will Undone have a video in the future do you know?

Yes.

The video was shot about a month ago so it should be out in the next couple of weeks - it’s something else that I’m looking forward to sharing with everyone.

Listening to your voice and artists like Suzanne Vega come through. Who are the artists you were hooked on as a child and motivated you to get into music?

My dad used to play Suzanne Vega when I was younger - so she was definitely an inspiration. I was always into singer/songwriters who played guitar, like Tracy Chapman, but I also found inspiration from artists like PJ Harvey and Marina and the Diamonds.

Before Undone; you cut your teeth playing at venues like Ronnie Scott’s Jazz Club and The Bedford. How important were those London gigs – and what did you learn from those experiences?

I think all gigs are important and it’s always good to get experience and try out your music in a live environment.

Obviously, London is a great place to do that - especially in those legendary venues.

Your biggest show was supporting Jack Savoretti (last year) at London’s Cadogan Hall. What is he like to play alongside and how did that time affect your writing and ambition?

I enjoyed playing with Jack...

As an artist, I find him inspirational as he’s worked so hard to get where he is. Getting to play at Cadogan Hall gave me a taste of what it’s like to play to larger crowds – which, I guess, fuelled my dream even more. I was so excited when I came off stage after getting a good response to my own music.

I couldn’t wait to write more to play to people.   

Will there be an E.P. later this year? What are your plans going forward?

Yes.

I am planning on releasing another single - followed by an E.P. this year. I’ll be spending more in the studio, too.

Who are new acts you recommend we check out?

I like Lewis Capaldi at the moment - and Zach Said was someone I enjoyed seeing live recently.

IN THIS PHOTO: Zach Said

If you had to select the three albums that mean the most to you; which would it be and why?

Marina and the Diamonds’ The Family Jewels; These Streets by Paolo Nutini and Red by Taylor Swift were all albums which I loved every song on.

What advice would you give to artists coming through right now?

My advice would be to (just) stick with it and keep going - if you have a setback don’t let it prevent you from moving forwards again.

Finally, and for being a good sport; you can name a song and I’ll play it here (not one of yours as I’ll do that).

Kacey Musgraves - Late to the Party

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Follow Amy Lawton

Official:

http://phonofile.link/amylawtonmusic-undone

Twitter:

https://twitter.com/amylawtonmusic

Facebook:

https://www.facebook.com/amylawtonmusic/

Instagram:

https://www.instagram.com/amylawtonmusic/

YouTube:

https://www.youtube.com/channel/UCWXV3W3pPXJf1RnzsfjsLdQ/videos

SoundCloud:

https://soundcloud.com/amylawtonmusic

Spotify:

https://open.spotify.com/artist/3Z9pPrfELSOEIpIGqusQ3w

INTERVIEW: Rider

INTERVIEW:

 Rider

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ONE sees Rider, and the spirit she has, and imagines her starring…

PHOTO CREDIT: Ollie Rillands/Shapeshifter Films

in an American Indie film. The U.S-born songwriter is based over here but definitely has a lot of American passion, humour and musical heritage – someone who has grown up with a range of influences and in different locations. I ask her about the new song, A Little Light. She talks about the song’s tough story and how, when the track was conceived, she had gone through a confusing and dislocating time. Rider chats about future music and gigs; the albums and artists that have helped guide her through her music career (so far).

I ask her about her evolution and progressing from penning radio jingles to, in a few days, performing at one of London’s best small venues – and what she has learned along the way. Rider talks about producing her own material and the influence her family had on her music/outlook on life.

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Hi, Rider. How are you? How has your week been?

I’ve been great - and thank you for having me!

For those new to your work, can you introduce yourself, please?

I was born in America but have lived in the U.K. since I was about five-years-old. I’ve lived all over England - as well as South West Wales, too. I grew up in a musical family and started writing my own songs around the age of eight - mostly by playing around on the piano and singing something that would stick.

I started to produce my own songs - using my dad’s music studio - from about the age of thirteen-fourteen - and I’ve been hooked ever since! I’ve worked in London, recently; recording vocals for radio, T.V. and film - but have always worked on my own music in my spare time.

I’m a dreamer, I’m an airhead: I’m serious; I’m crazy and I love a good-ol' deep-chat about anything - space, nature; quantum physics or spirituality.

Wow, that sounds like I’m writing for a dating site! That’s me, though...

That name, ‘Rider’. Is that indication that you push forward and have energy to keep dreaming? Was there a time or moment that inspired the name – or is it the embodiment of your passion and determination?

It means many things to me but, yes: it’s definitely a reflection of how I feel about my life and my outlook towards it.

It just sums me up well!

A Little Light is your new single. Can you tell me about the song and the story that compelled it?

It echoes a difficult time in my life from about three-four years ago. I basically found myself in a love-triangle. I also wasn’t sure if I was turning gay or that I was just bi. I felt lost...

To sum up the story; it goes like this:

I was in the middle of a hard break-up with a guy who I had been with for years - but I had also fallen in love with a girl who I had been seeing for a while - even though she lived in America. Every time she came to visit, we would act as if we were together. Eventually, I met another guy who completely changed my life! We started to hang out a lot and he just made me feel better about everything! He knew about this other girl and my hard breakup with my boyfriend and respected me - but we were both falling in love.

It was so hard for everyone involved. So, even though it was a real transitional time in my life, he was literally my ‘little light’ - that helped me get through the emotional mess I was in.

It seems like the song, in title and sound, is a relief and redemption after a fraught patch in your life. Are relationships and matters of the heart the biggest motivator for your creativity or was there something unique that led to A Little Light’s creation?

You’re right!

I would say the past four years of my life have definitely fuelled the need to write about my relationships - and the ups-and-downs of love. It’s what really affects me - more than anything, really! Perhaps that’s because I think a lot with my heart...or that I’m, simply, a girl - and us girls love to chat about our relationships. I’ve always been in one, too. The last time I was single for more than a week was when I was sixteen-years-old! I’m not sure if that’s a good thing or not...

I’ve wondered what it may mean - or maybe I’ve just been lucky enough to find amazing guys to be with at those particular times in my life.

Love is definitely the driving force behind my songs.

PHOTO CREDIT: Ollie Rillands

What was the video like to shoot? Can you tell me about the concept and how representative the visuals are the messages and truth of the song?

It was a lot of fun!

I feel it definitely tested my acting abilities. The bathroom scene was amazing because I had to make myself cry (after having to imagine sad things in my mind) and then, sitting topless in the bath - in front of the camera crew - was pretty funny. I wanted it to all be as real as possible, though, as if I was reliving my memories. It worked and I felt pretty exhausted after it. I love acting and will do anything to express and evoke what the song’s about - it has to be real to me!

The kissing in the alleyway scene was also a laugh to film because people were walking by sometimes and would stop in confusion and stare. It made it more exciting to film, though. All in all, it was filmed over two days: the first being the indoor shots and the second the outdoor shots.

The visuals, throughout, are VERY reflective of what actually happened to me. We wanted to create that massive divide between the happy times and the bad; light and dark. At that time, three-four years ago, I was a mess (from each day to the next). One minute, I felt the happiest I've ever been: the next, crying my eyes out like my life was ending. It was so weird and real hard to deal with.

Looking back, though: I was totally stuck in my head about stuff and just too scared of hurting anyone.

Does A Little Light mean there will be more material soon? What are your plans regarding an E.P., for example?

There’s definitely more material to release!

For the moment I’m just enjoying releasing singles and music videos across Vevo, Spotify; Apple Music etc. - I love to see people’s reactions/connections to them.

There is certainly enough material for an album - which may well be surfacing next year.

You’re an artist who writes and produces their own material. How important is it having that control and direction and do you think more artists should take this approach?

I am and I think it’s vital I keep writing and producing on my own - because I’m able to fully create what’s in my head. I’ve worked with other producers in the past and, although that has its unique benefits, I feel they can never fully create what I hear. I think if you’re able to produce your own music then, yes, I highly recommend it! No one can copy your way of writing or what sounds you want to use and how.

It’s the best!

You are U.S.-born but are based in the U.K. What was the reason for relocating and do you notice a big difference between the music scenes in both countries?

I moved to the U.K. when I was about five-years-old because my dad took a job over here - so I don't have much experience working as an artist in the U.S. From what I’ve heard on the radio though - whilst visiting family over there - the U.S. is definitely more varied and accepting of different types of music (more than the U.K.) - that’s no surprise since it’s a massive country with millions more people. The U.K. market is a lot smaller. Perhaps that’s a positive thing, though, because you’d get noticed over here more easily. I’m not entirely sure.

Either way; I’d love to break America and tour it a hundred-times-over (as well as the U.K.).

What was it like when you first arrived here? You moved about a bit. Was it difficult finding your niche here or was it a case of exploring the country? What were the best early memories you had of this country?

I was so young - but I remember my first primary school.

I also had a feeling that things were smaller in general - like our car, our house; other people’s houses. The weather was also a little different. Things like that were a little strange to me but when you’re as young as five-six years old…you adjust really quickly.

Before releasing music; you appeared on a number of jingles on big radio stations. What was that experience like and how beneficial was that time and exposure to your confidence?

Working as a session singer over the years and recording all sorts of things - not only radio jingles have helped me develop my voice in ways I couldn't do otherwise: all the experiences have been incredibly valuable! I’ve constantly been asked to sing like so-and-so; mimic this-and-that-artist and, through that, I found my true voice. Some say being able to mimic other artists can be a curse because you can lose sight of who you really are as a singer - but it’s done the opposite for me, actually, and helped me understand what’s the most natural way for me to sing.

Also; a lot of radio jingles require of a lot of tracking-up (layering up vocals and harmonies) and that’s helped me with my own vocal production.

Your music has been played at the opening and closing ceremony of the London 2012 Olympic and Paralympic Games. Are these your career highlights and how did it feel hearing your sounds being projected to so many people?

True!

My music was played on T.V. during the showing of the Olympics and Paralympic Games. But, because I don’t really watch T.V., I didn't even hear it while it was being played. I found out at a later date so I didn't get that instant buzz feel of hearing it live.

Still; I do feel a lot of pride knowing it was played.

Tell me a bit about your music idols and inspirations. Who are the artists that have been most instrumental and important to you?

I grew up as a Christian and used to listen to a lot of Amy Grant (whom I still adore). Her album, called The Collection (from 1986), was almost on constant-repeat in my bedroom. I would say the production on those tracks has greatly influenced me from a young age.

I’ve gone through phases of listening to certain artists on repeat like Prince, Michael Jackson; Third Eye Blind, Faith Hill; Céline Dion, Leann Rimes; Donna Lewis and the Goo Goo Dolls. Each of these artists, I feel, has all influenced me at certain stages in my life - there’s tonnes, though! Also, growing up in a musical family, I used to hear my dad and brother improvise on the piano all the time - they are my number one influences, to be honest. I do feel being exposed to a lot of Classical music whilst growing up too has influenced me.

I would go to many concerts from as young as I can remember - with full orchestras performing. I grew up singing in many choirs too - so that’s definitely influenced my creativity with vocal arranging and naturally understanding harmony etc.

 It’s been a rich musical upbringing and I’ve been inspired by all of it!

You play The Water Rats on 19th September. Are you looking forward to that gig and what can we expect in terms of songs and set?

Oh, my word…I am seriously looking forward to the gig!

Set-wise, they’ll be some little surprises along the way: some emotional ups-and-downs and some serious rocking-out. It’s an all-killer set - so I really hope to see you there. Come along!

We’ll be on stage at 8 P.M.

What other tour dates do you have coming up? Where can we see you play?

Apart from my gig on the 19th September; we have another gig lined-up at The Camden Assembly (London) on 30th October. Come to it!

Tour dates will follow soon, though!

Who are new acts you recommend we check out?

You should really check out The Kondoors. These guys have THE most incredible voices and write the most beautiful songs. They’re real soulful and their song, Forgiveness, makes me cry every single darn time! They’re amazing!

IN THIS PHOTO: The Kondoors

Another is a band called Fickle Friends. I really love their vibe and energy. Their production is so upbeat and has that happy '80s feel to it - I can’t get enough them!

Check out LANY, too - man, I love these guys so much! I went to see them live at KOKO (in London) some months ago and I fell in love with them instantly. They have that sunny and dreamy quality to their production and songs - which instantly makes me feel happy and relaxed.

IN THIS PHOTO: Fickle Friends

If you had to select the three albums that mean the most to you; which would they be and why?

Wow: this is tricky to answer…

Ok; my first album is Songbird by Eva Cassidy

The album holds a lot of weight for me - so many memories. I used to listen to it on-repeat during my A-levels - and throughout my years at uni. Eva’s voice is beyond perfection.

My second is an album by Sting called All This Time

It’s actually a live recording of a concert he held on the 11th September, 2001 - the same day the Twin Towers were hit in N.Y. The songs he performed on this album and the rich arrangements created are so sublime.

One word: inspirational.

My third album is a tough decision - because I have so many more - but I think it has to be Amy Grant’s The Collection (released in 1986). This album takes me right back to my early-childhood years. I instantly get that feeling of warmth, safety; home; being with Mum, Dad and my brother; America, being naive…everything. It makes me feel everything! It’s so hard to describe.

Have a listen!

What advice would you give to artists coming through right now?

Be self-sufficient: learn as much as you can and keep learning about the industry you’re about to get into.

Read the fine print….

Practice.

Follow your vision: don't let anyone change what you truly desire to be.

Dream big - and then dream bigger than that!

Be nice.

Finally, and for a being good sport; you can name a song and I’ll play it here (not one of yours as I’ll do that).

I Love You Always Forever by Donna Lewis (one of my (most) favourite songs of all-time).

Thank you so much!

Your girl,

Rider x

___________

Follow Rider

Official:

http://www.sapienrecords.com/rider

Twitter:

https://twitter.com/ridermusicpage

Facebook:

https://www.facebook.com/RiderMusicPage/

Instagram:

https://www.instagram.com/ridermusicpage/?hl=en

YouTube:

https://www.youtube.com/channel/UC_8fHwfPAhcObjV9B9c6mEg

Spotify:

https://open.spotify.com/artist/5G2EghUKgFfKXlghzyBVM6

INTERVIEW: Maria Moss

INTERVIEW:

 Maria Moss

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IT has been an eye-opening and fantastic experience…

finding out about Maria Moss. The Spanish-born songwriter talks about how languages and different cultures feed into her music - and the difference between Spain and London (where she is based). I find out more about her latest single, We Will Dance; whether there is going to be more music in the pipeline – how Latin and Arabic twists are integrated into her art.

Moss talks more about her influences and proudest moments; the message she would offer her (many) fans and, as We Will Dance’s video captures the singer-songwriter on the road - what it was like shooting (the video).

_________

Hi, Maria. How are you? How has your week been?

Hi, Sam! I am very well, thanks.

My week has been crazy! I have just come back from my holidays in Colombia and I have been very busy preparing the official video for my new single - that will be released around October/November.

I have been promoting and doing interviews (to promote) We Will Dance. We are also preparing a tour and some festival appearances.

For those new to your work, can you introduce yourself, please?

I am a singer, songwriter and a dancer, based in London. I fuse Pop with R&B; Dance and Soul – plus, Latin and Arabic elements. I was born in Tarragona, a small city in Catalonia, Spain. I have been singing since I was three. At the age of fourteen, I won the 'English Key’ prize singing When You Believe, by Mariah Carey and Whitney Houston, on Cantamania, a Catalan T.V. programme (TV3-Salou).

By the age of sixteen, I was already singing professionally and touring Catalonia. As I wanted to pursue my musical career, I decided to move to Madrid - and then London - where I have just finished studying BA Creative Musicianship in BIMM London. Since 2015, I have performed around Spain, the U.K. and the U.S.A. 

Even though I have collaborated with different artists and producers, it was not until this January when I released my first E.P. called Old Times. New songs will be released around October/November - with a completely new branding.

We Will Dance is your new single. What is the story behind the song?

We Will Dance is based on my own experience when I was travelling around the U.S.A. and Europe in 2015.

I felt so lucky to be able to see all those places, meet and play to people and learn from their cultures. I felt so inspired.

Since then; I travel frequently - if my music schedule allows it.

The video follows you around various locations. Was the video shot whilst you were on tour? What was it like shooting it?

Even though the song was inspired while I was on tour, the video was made while I was on holidays - in places like Berlin and Canary Islands - and arranging business meetings and music sessions in London and Tarragona.

We Will Dance is the second track taken from the E.P., Old Times. Was it a good experience recording the E.P.? Will there be another release from Old Times?

Old Times took me a long time to write and record as I wanted the songs to be good - and I had the pressure of having some good material out. I had a lot of fun and it made me learn a lot about my artistry, my music; the music industry and myself. 

As I have evolved since then; my new music released soon will be different. I am not going to release any other single from Old Times - but I may do a remake of Not Enough in the future.

How do you think We Will Dance differs from the previous release, Light? Do both songs address similar subjects, would you say?

While Light is a ballad about acceptance: loving yourself, illuminating your own path and fighting for your dreams: We Will Dance is a song about freedom, travelling the world and enjoying (things).

You are based in London but born in Spain. How does the music scene differ here (compared to Spain)? Is there a big difference between the people?

This is a very difficult question - and I will answer it from my own experience...

In London and the U.K., there are so many active signed and unsigned artists working towards their dream. You can feel the music industry is vibrant; radio presenters look for new artists; people go to concerts of unknown artists because they want to listen to new music; music tastemakers go to concerts to pitch new artists; music stakeholders may contact some of them to offer help; many artists will have to play for free in order to be in the spotlight, etc.

While in Spain, due to the economic crisis and, maybe, a difference in the music industry foundation, the radio just plays the songs on the charts. I feel that not many music industry tastemakers go to underground venues to see unsigned artists and people don’t go to see unknown artists that much - as they may not want to spend money or they prefer other activities.

Can you tell me how you got into music? What kind of artists did you grow up listening to? What were your first successes and memories when you stepped into music?

When I was three-years-old, I decided I was going to be a singer and a dancer. I am not sure how I came to that conclusion, but since then, I have loved performing arts and music. Thanks to my mother, I grew up listening to Aretha Franklin, Whitney Houston; Mariah Carey, Michael Jackson and Tina Turner. I also loved the Spice Girls, Destiny’s Child; Christina Aguilera and Britney Spears.

When I was a teenager, I discovered and loved The Black Eyed Peas, Alicia Keys; Linkin Park and Evanescence. I have always listened to so many styles of music.

I remember how I felt when I won the ‘English Key’ prize on Cantamania, a Catalan T.V. programme, in Salou. I was so nervous when I sang the son - but I felt so comforted when Roser, the presenter and singer, said that she was my fan.

You speak different languages and have seen your music shared and loved around the world. How connected are you with the world and is traveling/touring international something that makes you happy?

I only speak English, Spanish and Catalan - but I also understand a bit of German, Italian and Portuguese. I would really love to speak more languages!

My passions are music, travelling and dancing: touring and travelling around the world for a living - it would be my life dream. Currently, I travel and go on tour whenever I can but, if I could do it more regularly, I would be the happiest person in the world – as, to me, it is very important to meet people; learn from new cultures and discover new places.

How important is it to see your music get big radio-play and shared on social media?

Seeing people liking my music and sharing it on social media and having my songs played on the radio makes me very happy. I love seeing that my music can make some good to the world.

If my songs energise people and push them to work for their dreams, be more positive and enjoy life - my mission will have been accomplished.

I hear Latin and Arabic twists in your music. How much of that is because of your family roots and do you believe putting passion and dance into your music is the best way to make it connect with people?

I have always been attracted by Latin and Arabic influences, Hip-Hop, Soul and Pop - that is why I love mixing elements to make the music more interesting. Perhaps, the fact that I am a Spanish singer and dancer, helps with the whole idea of mixing styles.

I believe that music has to, first, be connected with who you are as a person. When people see honesty: they can connect with the music more easily.

 What message would you give to the fans that follow you and take your songs to heart?

I want people to build a positive feeling. I want to help people to achieve self-esteem and acceptance; to be brave to work for what they want; to live the moment.

Who are new acts you recommend we check out?

I recently discovered Lianne La Havas, Dua Lipa and Ella Eyre.

Of course, I love my friends’ music: Carry Lyanne, Ina Shai; Katie Waygood and Andrea Di Giovanni.

IN THIS PHOTO: Ella Eyre

If you had to select the three albums that mean the most to you; which would they be and why?

Monkey Business by The Black Eyed Peas

Because I remember how much I loved it when it came out when I was a teenager.

Loud by Rihanna

As I really loved the new branding of Rihanna.

El Viaje de Copperpot by La Oreja de Van Gogh

They are an amazing band from Spain - with a really unique style and fantastic lyrics.

What advice would you give to artists coming through right now?

Learn to be yourself; find what makes you unique; do what you think it is best. Work hard; read the small print; pay attention to the detail; believe in yourself and be brave.

Finally, and for being a good sport; you can name a song and I’ll play it here (not one of yours as I’ll do that).

I really love the song called Vivir Mi Vida by Marc Anthony - that talks about being positive, enjoying life and leaving the suffering behind.

___________

Follow Maria Moss

Official:

www.mariamossofficial.com

Twitter:

www.twitter.com/maria_MOSS_

Facebook:

www.facebook.com/mariamossofficial

Instagram:

www.instagram.com/mariamossofficial

SoundCloud:

www.soundcloud.com/mariamossofficial

Spotify:

https://open.spotify.com/artist/6KZs2lJQM6k6r3JdDFohTH

YouTube:

https://www.youtube.com/channel/UCKTa8e290nWIiV58NmlKDKA

INTERVIEW: KTEE

INTERVIEW:

 KTEE

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EVERY day brings something different to my thoughts...

Today…I have been getting to know more about Austrian-born singer-songwriter, KTEE. She is based in Dublin now but has had quite a packed and adventurous life thus far. I ask about her early music memories and the artists that she holds dearest. KTEE talks about her new single, Rollercoaster, and what it was like shooting the video. She discusses future music and whether there are any tour dates coming up.

I was eager to learn about her brand of Pop and what compels her process; the inspiration behind her latest track and when she knew music was the career for her – that one moment where everything slots into place.

_________

Hi, KTEE. How are you? How has your week been?

Hi, you! My week has been good so far...

I have been working on the lyrics for my next single: I won’t tell you yet what it is about, sorry (still a work-in-progress). Unfortunately, I got a bad ear infection today so - today has been quite painful.

Ouch.

For those new to your work, can you introduce yourself, please?

Hi. I am KTEE. I am a Pop-singer from Austria and I just released my newest single, Rollercoaster - which compares a rollercoaster ride with the ups-and-downs a couple can experience in a romantic relationship.

The video for Rollercoaster has been released. It seems like it was a blast to film. Was it as fun as it looks?

Yes.

It was really great fun, although, it was really cold most of the time. We expected it to be a bit warmer in Spain in April - but it wasn’t. So, driving around in the convertible and experiencing a very cold wind was not that cool - but everything else was really super-fun. It took us two whole days and (actually also) a pool scene was planned - in which the male model and I were supposed to jump into. I think that would have been a great scene. Unfortunately, there wasn’t enough time left, so we had to cancel that scene. Secretly, I was relieved since it was soooo freakin’ cold.

The whole team was just so relaxed and nice. We all enjoyed those days in Barcelona.

Where did you film the video and what was the fondest memory from the shoot?

Since we wanted something to represent the ‘speed’ of a roller coaster - and some movement in the video - we found the idea of filming in an actual roller coaster too cheesy. We came up with the idea of including a road-trip into the video. Since it was, firstly, very cold in April (in Austria) - and we wanted a city that could offer both beach and city - we chose Barcelona as a film setting.

The fondest memory from the shoot was when we were filming the beach scenes. Despite the coldness, it was really cool to shoot there. We were fooling around, having fun - and I even fell into the water. This was really, really cold (I even caught a cold from this) but it was worth it, because we had a blast. One funny moment was when we parked the car in a no-parking zone at the beach to film the last scene (when we say goodbye to the car and leave at the end of the video) and, while we were filming, we saw a police car coming towards us. We really wanted to finish filming the scene because the place was perfect - so we didn’t move until the police stood right in front of us to call us off. The cool thing is, the police car is actually in the music video (you can see it in the last scene).

Afterwards, we actually regretted the fact  we didn’t run away from the policemen -  just for the sake of the scene (you know, stealing a car - and being caught by the police in the end and running away from them - would have been the perfect ending for the music video, don’t you think?).

Was Rollercoaster easy to put together - and will it lead to an E.P./album?

Well. My co-writer and I were in Croatia/Rovinj to write some good songs. It was our last day there and we had the feeling that nothing creative was going to come anymore. So, we were about to give up when my co-writer played that cool riff on the guitar - and my creativity came to life. I immediately found the melody to the verse – and, also the bridge and chorus line was (just) there hidden in my brain somewhere waiting to come out. So, the melody was quickly found but the lyrics were quite hard to find. I think there are three versions of Rollercoaster’s lyrics now; so it took me/us quite a long time to write the lyrics. I wanted something easy and catchy but also something that is kind of cool and metaphoric.

One day, I was sitting on the sofa watching T.V. when I suddenly, out-of-the-blue, sang the chorus line “Love is a rollercoaster ride/It goes up, up, up, and down” – and, from then on, it was easy to find the rest of the words. When you know the topic and you have a great hook-line the rest isn’t that difficult anymore.

Of course, we are working on some more songs and we are planning to release an album.

Life, for you, began in the small town of Maria Neustift, Austria. It seems like you spent hours signing and practicing music. Was that because there was little else to do or did the lack of distractions mean you could focus on performance?

Well. I would say both are true.

Maria Neustift is really, really small and I didn’t even live in the ‘center’ of the town. Basically, you can say I lived in the woods, about fifteen minutes away from civilization (by car). I was surrounded by nature and animals (we had deer in front of our house!).

There weren’t many kids my age so there was a lot of time to spend alone in my room. Of course, I played with my siblings (I have one brother and one sister) but I really focused on practicing singing from early on. My mum gave me her old bulky radio and some cassettes - and I recorded myself again and again and tried to sound like Celine Dion (she was my first favourite singer). I also practiced with the songs of the musical, Dance of the Vampires. I still know all the songs by heart.

I didn’t have the chance to receive professional voice training because there were no singing coaches. So, I HAD to teach myself - which was a hard journey (I made a lot of technique mistakes; ruined my voice once....) but it all led to the way I sing now - so I am kind of proud of myself. Of course, later, when I moved to Vienna, I had an amazing vocal coach and she helped me a lot!

Thanks, Natascha!

What was the reason for packing your bags and moving to Dublin? What differences did you notice between Austria and E.I.R.E. in terms of music and people?

After school, I wanted to see the world after being stuck in Maria Neustift - that’s the reason why I went away. I don’t know why I chose Dublin: I guess I saw some nice pics on the Internet.

I love Pop music and mainstream: so neither the traditional Austrian nor the traditional Irish music made (and make) me wanna dance and cheer. I am not the biggest fan of the sound of the accordion, the Irish flute and fiddle.

So, actually, maybe this was the reason why I locked myself in my room in Dublin - to write my own songs.

Can you take me back to those early years in Austria? What music were you typically listening to and learning from? Were your family quite musical?

When I was a very small child, I experienced the effects of the so-called ‘mere-exposure effect' so, since my parents listened to Schlager music (difficult to describe what that is but it is a music genre that many Germans and Austrians like), I liked those songs as well (just because I didn’t know that there was something else out there). I have to admit that, today, I kind of hate this music genre.

Later, I became a huge fan of Céline Dion: my first C.D. was a Céline Dion album. I always recorded myself singing those songs and analysed my singing skills.

I also practiced with the songs by Beyoncé (she was my heroine when I was about eighteen-years-old) and I always wanted to sing like her.

And, of course, Jessie J - she has been very inspirational for me.

Was there a moment you knew you wanted to be a songwriter – or was there a single artist that motivated that desire?

No. It wasn’t really an artist that motivated that desire. It was lovesickness. I wrote my first songs when my heart was broken. I just grabbed a guitar and started to sing....those weren’t very good songs but they helped my soul to heal.

Since then, I haven’t stopped writing. 

Comparisons have been made between you and modern chart successes like Dua Lipa and Zara Larsson. Is it quite flattering getting those comparisons or are you keen to forge your own identity and be recognised on your own terms?

Of course. It is flattering to be compared to those great artists/singers but, in the long-run, I am very keen to forge my own identity - and the actual goal is that, one day, other artists are compared to me (instead of the other way round).

What tour dates are coming up? Where can we see you play?

Since we are currently working in the studio - writing and producing new songs - there are no upcoming dates at the moment - except for some small, unplugged gigs in Vienna.

But, follow me on Facebook or Instagram - or visit my web page regularly - and I’ll keep you posted.

Who are new acts you recommend we check out?

Oh, yeah. Have you heard about this Austrian singer KTEE? She is great.

Jokes apart: I am such a mainstream-lady, so I guess, whatever artist or act I would name here, you’ll know them already.

PHOTO CREDIT: Aaron Jiang

If you had to select the three albums that mean the most to you; which would they be and why?

Sweet Talker - Jessie J

I am a huge Jessie J fan: she inspires me in so many ways and this album is simply fantastic. I, basically, listen to it every day.

4 – Beyoncé

It’s not her newest album, but this album just means a lot to me - because, all of her songs and the power of her voice. It (just) gives me goosebumps.

Grace - Jeff Buckley

His music is not comparable to the music I usually listen to - and I haven’t listened to this album for a long time now - but it was very important to me when I was younger. There was a time in my life I wasn’t that happy, and my heart was broken, and, you know...just not the best months in my life...

Jeff Buckley’s Grace gave me some kind of comfort (although; many songs are very sad...).

What advice would you give to artists coming through right now?

Find your sound; stay true to yourself; be critical with yourself and your music (at first, it always seems as if the song you have just written is the song the world was waiting for – but, from a distance, it might look different) - so be critical and be ready to learn (and to improve and develop). 

Most important: never give up. It can be a very long and hard road and there will probably be times in which you’ll be devastated, sad and desperate, because you only get ‘nos’, or you aren’t even heard or taken seriously.

But, if this is your dream: DO NOT GIVE UP - no matter what.

Finally, and for a being good sport; you can name a song and I’ll play it here (not one of yours as I’ll do that).

Tell Me You Love Me by Demi Lovato (I love that song).

Thank you for the interview!

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Follow KTEE

Official:

https://www.kteemusic.com/

  Facebook:

https://www.facebook.com/KTEEsings

Instagram:

https://www.instagram.com/kteemusic/

YouTube:

https://www.youtube.com/channel/UCLr-Hb2Qj7mGIqxD5vEkHng

Spotify:

https://open.spotify.com/artist/16RDAkL9ygzmY49DzTXJCp

INTERVIEW: Annie Taylor

INTERVIEW:

 Annie Taylor

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I think Cold Reading was the last Swiss band I featured here…

but I always knew, without much pause, another would come along. The growing Swiss music scene is something that is rather unexpected and fascinating. With that in mind; it was great discovering the guys of Annie Taylor. I ask them about that name and its incredible backstory; how the members got together through time and what Switzerland is like for music – since it is a small country and, traditionally, has not produced a lot of stars.

The band discusses the forthcoming single, Wasted Youth – it is not released until Monday – and the story behind it. I ask how it differs from their previous track, Partner in Crime, and whether there are more recordings in the future. They reveal their touring plans and whether we might see them in the U.K.

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Hi, guys. How are you? How has your week been?

Hey. We are feeling great!

Just returned from France - where we played some shows. It was our first time over there, and wow, is was a lot of fun: music, wine; the sea, my birthday party (Gini’s); new friends and a huge police control (not so much fun).

The dog was really cute, though…

For those new to your work, can you introduce yourself, please?

We are a four-piece band from Zurich, Switzerland - who likes to play Girl-Grunge; Psychedelic-Rock (and some kind of Garage).

We released our first single, Partner in Crime, at the beginning of this year. Cyril is the guy who loves to play Psychedelic tunes on his twelve-string guitar; Michael is a good dancer while playing the bass; Adrian spanks his drums (harder than his girlfriend) and I sing and play guitar.

The reason we formed a band was friendship - which Adrian, Michael and I had before we met Cyril.

I believe the reason you have ‘Annie Taylor’ as your band-name is down to the woman who jumped Niagara Falls, in a barrel, in 1901. What was the reason behind that inspiration? Does her feat symbolise and signify a similar leap of bravery from the band?

Yeah, that’s right!

We were looking for a strong name which encourages ‘Girl Power‘. There are a lot of impressive women around! I really liked the stories and history behind Marie Curie, the female Pope; Sophie Scholl and so on - but their names didn’t sound like a band…

Also, there was this story from ‘Lawchair Larry‘ (Larry Walters) who flew with his lawn chair and a bunch of balloons through the L.A. sky. But, then we found the ridiculous biography of Annie Taylor; jumping in a barrel off the Niagara Falls. When we read that she sent her cat down first - in another barrel - is was clear we had to honour her!

Wasted Youth is the new single. What is the story behind that one?

Don’t you ever feel like you're wasting your time while working in a full-time job; paying rent for a flat; forgetting about things you love - cause you’re so caught up in stuff which is automatically encircling you?!

Well, during the past few years, I think all of us figured out, in their own personal way, that this is not how we want to spend our youth. So, by saying ‘wasted youth‘; I am not talking about partying all the time or getting fuc*ed-up: it’s more about finding what you love and live your life the way you want to live it - without anyone telling you if it’s right or wrong.

I guess, in Switzerland, it’s very common to live this way (you learn it) growing up - the whole thing about a full-time job and having a successful career. So, this is why, maybe, some people could see this way of spending time - or our generation-goals as a ‘waste of time‘…

How would you say the song differs to the previous release, Partner in Crime? To me, you sound more confident. Is that something you have noticed with your music?

Partner in Crime has a totally different subject: it’s about this (kind of) friendship you can’t find with everyone. You know, it’s about this person you can fully trust in whatever you are doing - and just feel real, honest and comfortable with. So, I guess that why it has a different vibe...

We wanted Wasted Youth to have a bit more ‘drive‘. Also, when we were rehearsing this song, it got more and more angry. I suppose we wrote it with a bit more piss off attitude - which made the reverbs and fuzz work together, as if to say, "Do what you love!“.

When Wasted Youth arrives, on 11th September; you share the stage with L.A. Witch. How excited are you guys about that?

You can’t imagine how great it is to play with one of your favorite bands, twice in a row - while (also) your new single is released! IT’S AWESOME!

L.A. Witch is one of our favorite bands and they stand for a lot of things we want to achieve with our music. It’s great we got the chance to play with them in our hometown too - I am sure this is gonna be a lot of fun!

There is an album approaching, too. What can you reveal about its songs and the sort of themes explored throughout?

We haven’t decided, yet, if there is gonna be the release of our first album or (only an) E.P. There is still room for new songs – we want to produce a diverse album without losing our style. I think none of the songs sound the same: this is probably because they were written in different time periods and moods.

Some of them are really dreamy and mellow and have this space-Psychedelic touch which definitely comes from Cyril. Others are more Grunge or Garage - which make you move your feet.

I believe you spent time in an air-raid shelter this year. Was that so you could close off distraction and retune your music? What is the reason for the band changing your sound and starting again?

This air-raid shelter is the perfect place to disconnect from the world and just dive into music.

We recorded parts of our album there and, after spending weeks in this dark-hole, we felt sometimes like zombies who survived an apocalypse. The air-shelter itself wasn’t really giving us something unknown to figure out...how we gonna write songs? I feel more like the mood I was in, while writing the skeleton of the song, pushed the ambience (of a track) in its direction…

Hailing from Switzerland; is there a big music scene where you are? How easy is it to get noticed in the country?

Actually; there are some really cool bands coming from this tiny place.

We are, also, really lucky with the bands passing through, while touring Europe. It’s not hard to get to know people, and make friends with, someone who works in a bar - which hosts bands from time to time. So we were very lucky and grateful that we could play at some cool places after we just formed.

Switzerland is a town! This is probably why it’s easier to get noticed than in other places - everybody knows everyone.

 Can you tell me how you all got together in the first place? What was it about one another that led to the formation of Annie Taylor?

Well, I just told you: Switzerland is a town!

BUT, the funny thing is, Cyril and I met in Miami when were around twelve-years-old. His and my family were waiting for the flight back home to Zurich - where we got to know each other. Of course, being near-puberting teenagers; we had shared MySpace contacts and, later, Facebook. From time to time, one of us would 'like' the other‘s picture...but we never talked, wrote or met ever since…

It took me by surprise when he contacted me while I was diving in the Indian Ocean! As soon I was back in town, we met and started to play togethee. Adi kind of had no choice but join the band – 'cause he was (and still is) one of my closest friends, who shared the flat by that time. So, all we needed now was a bass player!

Michi is one of the funniest guys I know and I really wanted him to be in the band. The only problem was, he already was playing in a band (King Zebra) and he didn’t wanted to start again from the beginning. Luckily, after a few evenings in a bar, I could convince him to listen into one of the demo. songs.

Since then, he is full-on!

Are there any tour dates approaching? We can we come see you play?

There are some shows coming up in Switzerland before we start touring Europe in March. Right now, the bookings for the tour are in progress - so I can’t give you any 'save dates'…

Any plans for the band to come and do a few U.K. dates?

Playing in the U.K. is definitely something we are planing for 2018.

While touring Europe in March; we won’t be able to play some shows in the U.K. It seems like England is a great place to play - so we are very excited to get some more time over there.

IN THIS PHOTO: Voodoo Beach

Who are new acts you recommend we check out?

When we were recording and shooting the material for our first single in Berlin; we went to a few shows in town.

There was this band Voodoo Beach playing - who all of us really liked.

If you each had to select the album that means the most to you; which would they be and why?

Gini: Fleetwood Mac - Rumours

Cyril: The Doors - The Soft Parade

Michael: Motörhead - 1916

Adrian: Bill Evans - Explorations

What advice would you give to artists coming through right now?

Be who you are: do what you do.

Finally, and for being good sports; you can name a song and I’ll play it here (not one of yours as I’ll do that).

Las Robertas - Not Enough

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Follow Annie Taylor

  Facebook:

https://www.facebook.com/annietaylorband/

Instagram:

https://www.instagram.com/annietaylorband/

YouTube:

https://www.youtube.com/channel/UCiDZn25GaaIV6-Zu_uekMFw

SoundCloud:

https://soundcloud.com/annietaylorband

BandCamp:

https://annietaylor.bandcamp.com/releases

Spotify:

https://open.spotify.com/artist/3oR0fg4OcsTKOjVY17u1e0